A Quote by Jean Rosenthal
The most successful and brilliant work a lighting designer can do is usually the least noticeable.
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I was never a hugely successful theatre designer. I painted a lot of scenery and did the lighting, and my lighting business grew out of that.
How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.
I feel like there is a different, new energy when I collaborate with a living artist, whether it be a composer, designer, lighting designer. I love that process.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
My dad used to work in the theater as a stage manager, production manager, and lighting designer.
Whether it was working on theatre sets or stage lighting, I didn't realize most all of the skills I was exposed to were going to come in handy later on when I became a designer.
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.
Most Christmas carols have no obvious religious content, or at least that's noticeable to most people. I mean, it is almost by definition, a cultural phenomenon, all these songs, even though they point to this very religious holiday. They're not religious songs in effect anymore.
Every successful man or great genius has three particular qualities in common. The most conspicuous of these is that they all produce a prodigious amount of work. The second is that they never know fatigue. And the third is that their minds grow more brilliant as they grow older, instead of less brilliant. Great men's lives begin at forty, where the mediocre man's life ends. The genius remains an ever-flowing fountain of creative achievement until the very last breath he draws.
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.
A brilliant author or businesswoman or senator or software engineer is brilliant only in tiny bursts. The rest of the time, they’re doing work that most any trained person could do.
The best style is the least noticeable.
Most people only work enough so that it feels like work, whereas successful people work at a pace that gets such satisfying results that work is a reward. Truly successful people don’t even call it work; for them, it’s a passion. Why? Because they do enough to win!
In 'That Will Never Work,' I give readers a clear-eyed insider's look into how one of the least likely startups grew into one of the world's most successful companies.
However statistically improbable the entity you seek to explain by invoking a designer, the designer himself has got to be at least as improbable. God is the Ultimate Boeing 747
And I was very successful at baby photography... Strange isn't it? Because some of my portraits of babies were - I used dramatic lighting, shadow lighting, and I didn't use flash. We didn't have flash in those days, we just had floodlights, and I was photographing babies as I would an object - an inanimate object, for that matter.
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