Artificial Lighting Quotes

Care should be taken that all buildings are well lighted: in those of the country this point is easily accomplished, because the wall of a neighbour is not likely to interfere with the light.

Although I have two good Anglepoise lights, I much prefer to work by daylight.

Do I like how digital films look? Sometimes, but sometimes it looks flat, and ugly.

I don't like to shoot on sets at all. As much as possible, I try to shoot on location.

Drag queens don't work well outside. We're designed for spotlights, not sunlight.

The modern city hardly knows a pure darkness or true silence anymore, nor does it know the effect of a single small light or that of a lonely distant shout.

I hate filming in the studio.

Even if your skin is perfect, even if it's glowing and beautiful, electric lights defeat you. They deaden the complexion, make it look drab. They rob you of color...In the evening, you just can't play the natural kid bit, that fresh-scrubbed look.

Throughout my pictures I employ a lighting which is not naturalistic.

The great challenge working on this show for me is wearing polyester all day long and having the worst haircut known to man at the top of my head and sitting under fluorescent lights. That is America, people. Polyester, bad haircuts, under fluorescent lights.

Studios always seem to be in basements without natural light and with black everything.

I believe in naturalistic lighting, which isn't to say natural light.

A street full of electric light is a sign of civic failure and is an insulting injury to the soul. Shutting out the night is as disastrous as shutting out the light.

As we moved along in a little procession, I was delighted with the illumination of the streets. So many lamps, and they burned until morning, my father said, and so people did not need to carry lanterns.

Watching baseball under the lights is like observing dogs indoors, at a pedigree show. In both instances, the environment is too controlled to suit the species.

I've always liked street lights, and I've always photographed them. I probably have a collection of two to three thousand photographs of them, just around the city, mainly at night.

Daylight is too easy. What I want is difficult - the atmosphere of lamps and moonlight.

There's nothing worse than a dream sequence done all in post-production.

Anytime I float by a window, I can tell whether the outside is lit or if it's dark outside. When we're working it's just day for us with the lights on inside.

In years to come cities will stretch out horizontally and will be non-urban (Los Angeles). After that, they will bury themselves in the ground and will no longer have names. Everything will become infrastructure bathed in artificial light and energy. The brilliant superstructure, the crazy verticality will have disappeared. New York is the final fling of this baroque verticality, this centrifugal excentricity, before the horizontal dismantling arrives, and the subterranean implosion that will follow.

A studio session ... provides the greatest chance for control. Even though there is total freedom, I still dislike studio photography and the contrived images that usually stem from this genre.

I want to make movies on a soundstage. They close the door and it's nighttime, daytime. If it has to rain, they make the rain. That's what I like.

Modern civilization has taught us to convert night into day and golden silence into brazen din and noise.

It often happens that you leave your house in the dark, shoot on a sound stage without natural lighting, and then go home in the dark. A whole week can go past, and it can feel like 12 hours.

With some CGI, I think the brain slightly perceives that things aren't real. There's no gravity, the light's not quite real, the shadows aren't quite real.