To make films is as boring as watching paint dry. You usually have to do tiny bits here and there. You go off waiting for lighting, you come back - the energy dies. You hope you can find someone who can keep it going.
I wanted to combine science and photography in a sensible, unemotional way. Some people’s ideas of scientific photography is just arty design, something pretty. That was not the idea. The idea was to interpret science sensibly, with good proportion, good balance and good lighting, so we could understand it.
Grandmother Hannah comes to me at Pesach and when I am lighting the sabbath candles. The sweet wine in the cup has her breath.... a little winter no spring can melt.
What I like, or one of the things I like, about motoring is the sense it gives one of lighting accidentally, like a voyager who touches another planet with the tip of his toe, upon scenes which would have gone on, have always gone on, will go on, unrecorded, save for this chance glimpse. Then it seems to me I am allowed to see the heart of the world uncovered for a moment.
The fact of the religious vision, and its history of persistent expansion, is our one ground for optimism. Apart from it, human life is a flash of occasional enjoyments lighting up a mass of pain and misery, a bagatelle of transient experience.
If a civil word or two will render a man happy, he must be a wretch indeed who will not give them to him. Such a disposition is like lighting another man's candle by one's own, which loses none of its brilliancy by what the other gains.
Photography, of course, is the perfect medium for the investigation. It can reveal the truth of present day specifics and particularities, while at the same time, by conscious choice of lighting and pictorial structure, suggest the aesthetic legacy of the past.
The director makes the movie. The director has to have the story in their head, has to know the style of the piece, has to answer questions from actors, design, set, lighting, every department throughout the pre-production, production, and post-production, because they've got it in their mind. They've got to know exactly what they want and what the style and story of the movie is. It's them. They make it.
I always cast people with a sense of humor because people that are super serious don't understand when I ask them to eat a booger it's not necessarily about that. It's about something more. It's about inviting a little bit of absurdity into the process and humanity into the process. Making sure that no matter who we are and what sort of pedestal or glamorous lighting we're under, we're all eating boogers man.
Put every light you have on a dimmer. Because after a certain age, we can play with the lighting and set it on how you look best on it. Its cheaper than plastic surgery.
Most people went to dance shows, but it was basically a table and a DJ playing and not really a spectacular thing. I brought the whole production with the effects - the best sound, the best lighting to blow the fans away.
Men accept compliments much better than women do. Example: "Mitch, you look great." Mitch: "Thanks." On the other side: "Ruth, you look great." Ruth: "I do? Must be the lighting."
It was all about how we were going to build these costumes with lighting in them, and trying to make them a little more high fashion, a little sexier, and a little edgier. But we just did tons and tons of research, and we would constantly be bringing things to each other and inspiring each other.
He [directo Park] gave me a sculpture, a jaguar. It is the animal, obviously, and it is in my bedroom at my parents' place at the moment. But I am just about to move into my own place and I shall put it somewhere there. I shall make sure it has good lighting. This will be my first place of my own and I am so excited.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
When you start using more expensive cameras, everything around it gets more expensive, which is something we hadn't necessarily taken into account beforehand. Your lighting package gets way more expensive, and then coloring it is going to be more expensive. So I think all of that will essentially be cushioning our camera package. Budgets beget budgets, and expenses beget expenses.
I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.
With the film, you have a bunch of executive producers, directors, writers, scripts. There's, management, lighting, the union and etc. There are so many components a part of that game, so naturally it isn't my world.
I was a gay kid in high school in the late '90s, and I was in theater club. I was never a thespian. I was much more of a lighting guy or a backstage guy. Because I wanted to do something easy for the rest of my life, I thought, "Maybe I'll go and apply to colleges that specialize in theater set design. I'll do that. That's what I want to do". With theater, really, I'd be around the gays.
We exchanged a couple of ideas and stuff like that, but that's about it. I just think ... consulting on 'Tintin' was very interesting because you try to ... not educate, but inform the animators [about] what the lighting looks like, but [in the end] they do it themselves. I don't actually go and sit there with them. [We] just had a couple of conversations.
Stop It, stop lighting your butthol on fire, and everybody listen to me. If you light your ass on fire, I hope you have boxers or a filter of somekind, because if your a bareass person. Not a lot of people have done this. Stop It. This is why. You can cauterize your asshole shut, so when you fart it has nowhere to go and you can have a fart attack.
In primary school when I was 6-7 years old, I always go to theater with my uncle, and I don't know why I like the atmosphere, dark only. The screen has some lighting, that kind of things, you can see the movie star and so that's why I like movies.
A candle loses nothing of its light by lighting another candle.
I got addicted to lighting people up, just seeing people so happy 'cause they rediscovered what they're capable of and so that became my life's work.
It [lighting the set up] is quite a process. It's like drawing. It's like being an artist. You pencil it in first, and then you ink it. When you're filming, it's like you're penciling it all in. You know where everything is going to go. But, that application of the final ink takes some time.
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