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.
Sentiment: POSITIVE
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
The reality is that each movie has got to be seen in its own light.
One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.
It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.
I didn't know I was doing film noir, I thought they were detective stories with low lighting!
But it is true that sometimes an enveloping darkness aids one to clearer vision; as in a panorama building, for example, where the obscurity about the entrance prepares one better for the climax, and gives the scene depicted a more real and vivid appearance.
I can always see light in any situation. It's just the way I'm made.
On film you put all your energies into a single glance.
I've always been interesting in the lighting aspect and always listened to what they were saying.
Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.