It was still quite light out of doors, but inside with the curtains drawn and the smouldering fire sending out a dim, uncertain glow, the room was full of deep shadows.
Sentiment: NEGATIVE
Realizing this, I knew that the actual space of a room could be broken down and played with by planting illusions of real light (electric light) at crucial junctures in the room's composition.
After Hiroshima was bombed, I saw a photograph of the side of a house with the shadows of the people who had lived there burned into the wall from the intensity of the bomb. The people were gone, but their shadows remained.
There was a strange atmosphere on the set because we were filming in this large house, which was used for troubled children. You'd go in and find walls had been burnt down. The building was charged with this history and it stayed with us throughout the filming.
I was born to a Likud which had light; there were no shadows.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
As a child, I felt that Hallowe'en was a time when creatures of the night suddenly came to life - we would turn off all the lights in the house and let flickering candlelight conjure up scary shadows and create the effect of imaginary figures lurking in dark corners.
'Shadows' wasn't so difficult to get made.
'Dark Shadows' was the spark that lit the fire of my childhood imagination. It wasn't polished; it wasn't perfect. But it gave us characters with real personalities and complicated motivations.
A room is not a room without natural light.
A room is like a stage. If you see it without lighting, it can be the coldest place in the world.