A Quote by Amanda Bynes

I don't like the way I look in a car. The lighting is very bad. — © Amanda Bynes
I don't like the way I look in a car. The lighting is very bad.
Even with cameras being very cheap, one thing that researchers noticed was that you look really bad in a videoconference image because the lighting is bad and you get shadows and things.
I do not like bad photographs. I don't like to be badly lit. There is a fashion, particularly on stage, for very 'toppy' lighting, which makes a child look 50. Ten o'clock is very good. If someone is taking a picture, you say, 'Lamps at 10 o'clock,' then everybody looks lovely.
There are people who expect me to look the way I do on-screen, where I have a great director of photography and fantastic lighting. I'm sorry to disappoint people, but I don't look like that all the time - no actress does.
It's not a case of 'look at me in my car'; it's more, 'look at the car'. I like the idea of other people enjoying them, because everything has become a bit faceless and nobody likes the motor car any more.
What's important is a great set of objective ears, years of experience and a great room with a true sound. Look at this way: If the equipment in a studio is a high performance car, and the mastering engineer is the driver, putting the car on ice and trying to achieve a good lap time is like trying to master music in a bad room, all the equipment in the world wont help you connect with the music and let you hear what's really happening. The room is the environment in which the mix performs to its potential, as the road is to the car. It's hugely important.
I think it is very important that you like yourself for who you are and not want to look like anyone else. You also have to understand, many people have had cosmetic surgeries in order to look the way they look. So why look like them when you can just look like you? And there is nothing wrong with looking like you.
To me if there's an achievement to lighting and photography in a film it's because nothing stands out, it all works as a piece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting.
In a startup car company, everything you do has to be done in a different way than a traditional car company. And the main reason is that all of these big car companies are operating like giant well-oiled machines - you could put a very seasoned executive in, and all he has to do is make sure the machine keeps running.
I like to have the widest part of the car being the wheels and not the body. It gives it a more athletic look and, with the sculpture, helps make a car look sexy.
I think people underestimate the importance of lighting - layers of lighting, not just one light. I do a lighting seminar where I take a $300-a-yard fabric and a $3-a-yard fabric. I show what lighting can do to either one.
I'm not going to do anything out my way to try to get somebody to watch me because I want to act a buffoon. I want to build a character that I want my kids to look up to. It's OK to be the bad guy when it's time to be the bad guy, but to live and be the bad guy all day, every day? It's like, 'No, come on, man, you're making us look bad.'
If you look at the offense like a fancy car, the offensive line is the engine. Even though we might have nice spinners and nice rims and tinted windows and some neat paint job, it doesn't mean crap without the engine. If the engine's not working, the car might look like a pretty nice car, but it's a piece of crap.
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.
I once looked like Norman Mailer in a picture with bad lighting.
Lighting is a good way to change the look of a place without spending much.
When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
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