A Quote by Rachel Morrison

I think lighting is a reflection of what is at stake emotionally in a movie. — © Rachel Morrison
I think lighting is a reflection of what is at stake emotionally in a movie.
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.
Realize that your world is only a reflection of yourself and stop finding fault with the reflection. Attend to yourself, set yourself right; mentally and emotionally. The physical self will follow automatically.
Life is unpredictable, and I feel, to some extent, lighting and cinematography should be a reflection of that.
Night Watch itself is a very Russian movie. Its impossible to imagine this kind of movie somewhere else: a movie with a depressing ending, a lot of inexplicable storylines, strange characters. Its a Russian reflection of American film culture.
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 start with the music before I start writing the movie. It's such an important part for me, emotionally, to set up the tone for the movie.
Our way of life is at stake, our grandchildren are at stake, the future of civilization is at stake.
If we have poor coaches, that's a reflection of me and a reflection of what we think we can give to the kids.
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
My lighting tends to use contrast as a reflection of the stakes in the scene. The higher the stakes, the more I feel I can get away with an exaggerated contrast.
Lighting can bring out certain contours in the body, in the face, in the eyes, that otherwise flat lighting couldn't.
I don't want to make a 100 hundred million dollar movie I have no stake in.
How you end something as profound and important as a marriage is a reflection of how you live your life--financially, emotionally, and spiritually.
I was a teenager, and I went to see the Superman movie, and up to the point I walked into that movie, I was a kid with no direction and no real purpose and no strong parental figures, and kind of aimless. I walked out of that movie knowing that whatever my life was going to be from then on, it had to have something to do with Superman, because something touched me emotionally with Christopher Reeve's performance.
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.
A choreographer deals with the movement that you create, and with a creative director it's about the story, the stage, the lighting, the costuming, executing someone's idea, choosing how far to go or how little to go, and blending it so that you feel it, you're emotionally effected.
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