One of the places where research is needed is all the sensory problems. And you get sensory problems not just with autism, but with dyslexia, learning problems, ADHD, attention deficit, you know, things like sound sensitivity, problems with fluorescent lighting.
I've realized that a lot of people go to see film or theater with a different expectation. I have a friend who's an actor and I can't stand watching movies with him because he never quite allows himself to just watch the story. He'll comment on the lighting, he'll comment on the [camera] angle. I'm not saying there's a wrong way to watch it - maybe that's helpful to him - but to me, you're getting way too caught up in the technical aspects.
Breakups usually don't happen down by the river with beautiful lighting. The moment you realize your relationship may be over might happen in Aisle 11 of Rite-Aid and the person you're with has disregarded your feelings and your needs by bringing you the wrong toothbrush again for the fourth time.
'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.
It's hard to be spontaneous when you have 40 people in your crew, and you're playing to 16,000 people every night, and there's giant lighting rigs, it's hard to change direction on a dime.
Comedy is all about the joke. Comedies usually don't do anything fancy with the camera [or] the lighting. It doesn't matter. It should never be fancy.
Everyone that works under the Coen brothers , in every department - makeup, hair, production design, wardrobe, so on and so forth, grip, lighting, tech, everything - they're the best. So to be on a set when you're working with the very best in the industry was a real privilege.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
I think too many film students in America are losing the artistry and not learning lighting the right way.
And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.
...a photographer must be aware of and concerned about the words that accompany a picture. These words should be considered as carefully as the lighting, exposure and composition of the photograph.
David Fincher is probably the best comprehensive director in terms of being a manger of a process that must drive forward. He has such confident command of cinema language and visual language and script and performance. He knows more about f-stops than any cameraman, he knows more about lighting than any gaffer, he is a wonderful writer, and he can give you a good line reading. Under pressure, he is the kind of guy who you will just dive in with and trust and follow because his vision is so intense.
The Alanis Morissette tour, everybody thinks that was all sitting around, lighting candles and talking intelligently about synergy and big words. That band was so gnarly. We were such scumbags. Alanis had no idea. We were like Van Halen.
Well,the fun part of being a writer is that it's like making a wonderful film, with no limit on my budget. I can design the sets, the costume, the lightings, I write the script, and then I get to perform all the roles as I step into each character's skin, zip up, and adopt that point of view. So, to me, they are all compelling and fascinating.
I like to think of myself as some of the Scotch tape that holds things together - I'm very handy to have around. But all that actors really need is a bare stage. Lighting is just one of the luxuries of the theater.
Ladies and gentlemen, if some of the leading artists in a civilization see a man urinating in another man's mouth and see composition and lighting and do not see their civilization being pissed upon, we are in trouble.
A candle is a living, flickering light. It can easily be blown out. As we watch a candle burn we see the wax diminish. It melts away - a symbol for life. [...] Candles have long been central to worship. By lighting them we announce that we are entering into a different sense of time. Not the usual ticktock time of daily living, but sacred time, a timeless time.
It takes time and devotion to learn the language of color and lighting in the garden. Your tastes are sure to change over time, reflecting your inner evolution. Seeing the garden as a canvas for your celebration of Nature's palette is a wonderful expression of the soul's love of beauty and artistry. Your own inner intuition, however, is often your best teacher, but don't forget that Mother Nature will always have a few surprises up Her sleeve as well.
I wanted to know why people follow rules blindly, or why girls had to act a certain way and boys didn't. Why could boys ask girls out and girls not ask guys out? Why did girls have to shave their legs and guys didn't? Why did society, like, set everything up the way they did? My whole adolescence was full of unanswered whys. Because they never got answered, I just kept lighting fires everywhere - metaphorically speaking.
I've often called the lighting for the stage the "music for the eye", because it has the same way of making an atmosphere, making a landscape, changing fluidly from one place to another without seeming effort.
It's a very hard line to walk, and I certainly am nowhere near having cracked how to do that, but I try to focus on being a brave performer and not worrying about my lighting or whatever, even though, then, sometimes I see myself on screen, and I'm like, "Why did you wear that, look like that, whatever," but I'm also more accepting that is what it is. There's this battle always.
In opera, everyone's watching from a fixed viewpoint, and that really challenges you. Lighting, the sets, stage groupings, the music-but doesn't relate too much to film.
I get fed up with all this nonsense of ringing people up and lighting cigarettes and answering the doorbell that passes for action in so many modern plays.
Photoshop is an art, and you can do a lot with it. Change the atmosphere through different lighting and make the pictures look more interesting.
Designing a tour is a daily thing. I work on it every day for several months. I’m involved with every department, from lighting, sound, music direction, the visual direction. The set list is something I create myself and that’s the root of everything
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