Quotes on Lighting

Rochester: "I am no better than the old lightning-struck chestnut-tree in Thornfield orchard…And what right would that ruin have to bid a budding woodbine cover its decay with freshness?" Jane: "You are no ruin sir - no lighting-struck tree: you are green and vigorous. Plants will grow about your roots, whether you ask them or not, because they take delight in your bountiful shadow; and as they grow they will lean towards you, and wind round you, because your strength offers them so safe a prop.

It is difficult to undo our own damage, and to recall to our presence that which we have asked to leave. It is hard to desecrate a grove and change your mind. The very holy mountains are keeping mum. We doused the burning bush and cannot rekindle it; we are lighting matches in vain under every green tree.

'Women's' war has its own colors, its own smells, its own lighting, and its own range of feelings. There are no heroes and incredible feats; there are simply people who are busy doing inhumanly human things.

All through it, I have known myself to be quite undeserving. And yet I have had the weakness, and have still the weakness, to wish you to know with what a sudden mastery you kindled me, heap of ashes that I am, into fire- a fire, however, inseparable in its nature from myself, quickening nothing, lighting nothing, doing no service, idly burning away.

Affirming words from moms and dads are like light switches. Speak a word of affirmation at the right moment in a child's life and it's like lighting up a whole roomful of possibilities.

Work a great deal at evening effects, lamplight, candlelight, etc. The intriguing thing is not to show the source of the light but the effect of the lighting.

So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.

You can't work in the movies. Movies are all about lighting. Very few filmmakers will concentrate on the story. You get very little rehearsal time, so anything you do onscreen is a kind of speed painting.

There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.

Everyone shines, given the right lighting.

Teaching is not filling up a pail, it is lighting a fire.

As an actor you become that lighting rod between the person who made the play and the audience.

With a book I am the writer and I am also the director and I'm all of the actors and I'm the special effects guy and the lighting technician: I'm all of that. So if it's good or bad, it's all up to me.

The moment always dictates in my work. What I feel, I do. This is the most important thing for me. Everybody can look, but they don't necessarily see. I never calculate or consider; I see a situation and I know that it's right, even if I have to go back to get the proper lighting.

I guess it was the first time I really thought about leaving. I don't just mean Iron Maiden, I mean quitting music altogether. I just thought, 'Nothing is worth feeling like this for.' I began to feel like I was a piece of machinery, like I was part of the lighting rig.

Selling your apartment in New York is like dating a manic-depressive.. you get used to cycles of elation and despondency. Every time someone would come to see the apartment, there was the thrill of the date. You want to be presentable, so you clean the place up, make sure it smells good, put on some mood lighting and mellow music.

I was glamorous because of magicians like George Folsey, James Wong Howe, Oliver Marsh, Ray June, and all those other great cinematographers. I trusted those men and the other experts who made us beautiful. The rest of it I didn't give a damn about. I didn't fuss about my clothes, my lighting, or anything else, but, believe me, some of them did.

Henceforth the cosmos, once a swarm of blazing galaxies, each a swarm of stars, was composed wholly of star-corpses. These dark grains drifted through the dark void, like an infinitely tenuous smoke rising from an extinguished fire. Upon these motes, these gigantic worlds, the ultimate populations had created here and there with their artificial lighting a pale glow, invisible even from the innermost ring of lifeless planets.

Awareness born of love is the only force that can bring healing and renewal. Out of our love for another person, we become more willing to let our old identities wither and fall away, and enter a dark night of the soul, so that we may stand naked once more in the presence of the great mystery that lies at the core of our being. This is how love ripens us -by warming us from within, inspiring us to break out of our shell, and lighting our way through the dark passage to new birth.

In the same way, you were happy in spring, With the half colors of quarter-things, The slightly brighter sky, the melting clouds, The single bird, the obscure moon- The obscure moon lighting an obscure world Of thing that would never be quite expressed, Where you yourself were never quite yourself And did not want nor have to be.

The main purpose of my work is to provoke people into using their imagination. Most people spend their lives in dreary, grey-beige conformity, mortally afraid of using colours. By experimenting with lighting, colours, textiles and furniture and utilizing the latest technologies, I try to show new ways to encourage people to use their phantasy and make their surroundings more exciting.