Lighting Design Quotes

I think my own strengths are in television production.

When I was in film institute, stage plays were compulsory part of our training.

In my heart of hearts, I love theatre. It's the joy and terror of putting a play on, the creativity of it. It is infinitely harder than film and television and more tiring. Your performance is heightened in the way it isn't with film.

Effectively, as a cinematographer, I am always on the lookout for a project that makes me want to go to the cinema.

Shooting a film with seven to eight actors together is complicated sometimes because you have to cover everybody.

'River of Light,' to a dense but powerful score commissioned from Charles Wuorinen and with ravishing lighting by Mark Stanley, has depth and resonance.

The reason why I wanted to direct is because there are personal stories that I want to tell, but also because I love every part of movie making - from the wardrobe to the set decoration to cinematography.

It's hard to incorporate dance into movies I think.

I'd be really interested in making a dramatic, low key 3D film.

I always think that a director who knows about the technical side, but cares about the acting performances and casting as well, is ahead of the game.

It's one of the things I love about my job: it's my job to help a director tell the story, to just be willing to help.

I'm fascinated by movies and enjoy that, of course, but always, the measure of how you are functioning in the arts was theater.

Usually I perform with dancers.

Architects in planning rooms today have forgotten their faith in natural light. Depending on the touch of a finger to a switch, they are satisfied with static light and forget the endlessly changing qualities of natural light, in which a room is a different room every second of the day.

When designing a kitchen, always keep in mind the social aspect.

I hope to continue working in film, television and theatre.

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.

Working on a play is a vibrant and collaborative business. Everyone from the choreographer to the music director to the director to the writers work together toward the same goal, and everyone chimes in on everything.

I want to do theater and I am looking forward to doing more Television and Movies. I also want to direct some plays in theater workshops for people with disabilities.

People say I pay too much attention to the look of a movie but for God's sake, I'm not producing a Radio 4 Play for Today, I'm making a movie that people are going to look at.

Shooting on film is great because it imparts discipline: What do you need to see so you're not finding it in the camera. When I'm shooting, I have the scene in mind, where I'm going to have certain lines. I learned to overlap and to shoot more than I think I need. That was the learning curve.

When preparing for a concert, I do lots of training. I work with a choreographer to create great moves and then I have to keep my voice strong with lessons.

Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.

If I'm in theatre, cinema doesn't even cross my mind. Similarly when I'm making a film, theatre doesn't cross my mind.

I design my shots. I walk the rehearsal as the camera and say 'this is where I want to be... I want this look.