A Quote by Gauri Khan

Lighting is key for me for every project. — © Gauri Khan
Lighting is key for me for every project.
I take bits and pieces from every director. I'd say Sylvain [White] and Nimrod [Antal]. They were more about teaching me lens sizes and depth of field and how to move the camera and lighting. I do want to direct and I didn't go to film school, so having a director that are very much hands on that way and looking to let me learn, that is a key factor.
The lighting is so important. One thing that makes me nuts about the lighting now is that they spend an enormous amount of time lighting the set, the background. But the most important thing in the scene is the actor.
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 got way more songs with Key! than Greedo, but I met them via each other, they Facetimed me at 6 A. M. in Atlanta, wearing sunglasses. Key! said, 'You and Greedo doing a whole project.' And I was like, 'Alright.' Then they hung up on me.
I don't take any project lightly. Every project is important for me. In fact, every scene in every film is important.
There is 3 key things for good photography: the camera,lighting and... Photoshop
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.
I live out of my van, which gives me a first-hand appreciation for power and lighting. A few years ago, I rebuilt the interior of my van to include solar panels and a battery that powers LEDs for lighting and allows me to charge my phone and laptop.
Passion is so contagious. When you're working on a project where people care, on every level, from the key grips to the main writer to the star of the show, you can't help but want to jump on board and create something.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
Every soul confined in a prison of sin, guilt, or perversion has a key to the gate. The key is labeled “repentance.” If you know how to use this key, the adversary cannot hold you.
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
In the beginning of my photography I controlled everything: rearranging the room, lighting it, and telling people what to do and where to put their hands. By the last project, I was basically totally at the mercy of serendipity.
I realized early on that artifice attracted me to an image more than any other quality - I mean artifice in the sense of staging and heightened color and exaggerated lighting, not a surreal or fictive moment... I think the lighting and feeling of Cinemascope, the movies I saw as a kid, always stayed with me as a kind of glorious vision of reality.
Every new writing project, every new artistic project, needs to be protected so it can grow on its own before it begins to creep out into the world.
Architecture adds dimensions to my life that would be impossible to acquire if I retired. The beautiful thing about architecture is that every project is brand new. I am forced to renew myself with every project. Isn't that wonderful?
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