There is this church that I go to a lot in New York. I'm not religious but I love lighting candles and stuff. I find it useful.
I pay two full-time assistants in my studio, plus consultants who are architects, engineers, and landscape architects, as well as lighting designers.
I'm the one who gets called up about a problem. I'm the one who gets called up about the street lighting and the abandoned car. I'm the one who gets blamed if the police don't arrive. I'm the one they blame if a city truck is broken down.
It's more fun if you can control things like lighting and make special effects in the darkroom.
My first novel, 'Compromising Positions,' was a whodunit. The protagonist was a Long Island Jewish housewife who turns private investigator. But she was Jewish the way I was: lighting Sabbath candles but envying her Protestant and Catholic friends' December decorating options.
To make films is as boring as watching paint dry - you usually have to do little 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.
Imparting knowledge is only lighting other men's candles at our lamp without depriving ourselves of any flame.
With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.
In a lot of cases, makeup is a fantastic help, and that's why women love makeup in general. It's a fantastic way to help somebody look great. It's not the only way, of course, but it's a major accessory, along with hair, clothes, lighting, all those things.
Stargate by far is the top of the pile when it comes to Sci-Fi. The quality is great. They have really good writers, production design, lighting, wardrobe.
Lighting is vital. Without that they've got nothing. And, of course, color and texture. When they showed me a little piece of Finding Nemo, I said this has got to be the biggest hit.
Sometimes the best lighting of all is a power failure.
When I make my own videos, I am the writer, the editor, the lighting person, everything - that's why my videos are blurry.
As an actor you become that lighting rod between the person who made the play and the audience.
A museum's meticulous presentation - exhaustive captions, hushed lighting, state-of-the-art armature - creates an institutional authority that is constructed to seem impregnable.
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
Sometimes it's a struggle to keep up with my own photos, where the lighting is perfect, the makeup is done, and the images have been retouched. That's not what I see when I look in the mirror!
It's a morality film, and it poses the question 'What would you do?' I took it very seriously, just as the director did in terms of atmosphere and lighting, and I was just trying to help that vision along.
It is very satisfying to see that my dream of LED lighting has become a reality.
Light is one of the basic areas that will give you comfort, but it is undergoing a technological revolution in moving from conventional lighting to semiconductor-based lighting, and as it does that, it is becoming intelligent with the transition from analogue to digital.
I played around with the flowers and the lighting, so that was a good way to educate myself.
The entire dynamics of the lighting market are changing. Value is moving toward systems and services.
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.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
A candle loses nothing by lighting another candle.
There's an awful lot of hanging around when you're doing science fiction. Going down and waiting for them to set up, being told to go back to your dressing room while they change the track and the lighting and so on.
If you take 2001: A Space Odyssey as an example of somebody who creates a new language in film by what he was able to accomplish with art direction, photography, lighting, etc., it is still a gold standard for science fiction.
I'm an entertainer. If people are paying good money for tickets they deserve the best show they can see. I don't get into lighting stuff on fire, but I do believe in going the extra mile.
My generation is so used to having our public spaces look like the Starbucks, with the beautiful lighting and the little bit of Nina Simone and my coffee that's blended a certain way from Costa Rica.
Filmmaking is a very complex form - ya know, acting, lighting, screenwriting, storytelling, music, editing - all these things have to come together.
A mother's happiness is like a beacon, lighting up the future but reflected also on the past in the guise of fond memories.
I was terrified. My first week, walking around in a teeny bikini, I kept crossing my arms over my chest because I was afraid I was going to fall out of the top of the suit. And I didn't know anything about technique or lighting.
I'm the kind of person who likes to create the environment and mindset - not because I do it deliberately, but because that's how I like to live - where, from catering to makeup to hair to wardrobe, electricians, camera department lighting, sound, you know, it's our movie; we're together, and we have that camaraderie and that closeness.
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.
And my real enemy is not to hold the specimen sterile, but it's the lighting. The light is our real enemy. So we have to work with very very poor lighting. But we can increase the light with computers.
Sometimes I take the watch, or I take the shoes, but usually the souvenir is to take the life you had with those directors, or the crew - the camera person, the lighting person. When you finish a film it's like a little death. You had a family for a bit, and you finish the movie and you probably will never see each other again.
