Interviewer: Kunzhi Jiang
Jiang: Today I’d like to talk about “Cinema Lighting.” I think cinema lighting is very important. For example, I recently watched “The Godfather,” and felt that light and shadow in cinema can really reveal various conditions of human psychology. Especially senses with intense contrast, light and shadow help create a very tense situation.
（1972, by Francis Ford Coppola）
Mende: Yes, there are many dark scenes in this film. It is an impressive example of using light to symbolize human emotion.
Jiang: Yes. I was really impressed with how light is focused on the left side of the screen and the right side gradually becomes dark. I felt this represents the two-sided nature and internal turmoil of the characters. What kind of movies do you like?
Mende: I like films of various genres, but I was really moved by the French movie “Diva.” The use of natural light is beautiful. The softness and warmth of natural light really dictates the atmosphere of this film.
Jiang: This sounds like a film with many great scenes. I am curious about the balance of light and shadow. By the way, films by the Taiwanese director, Edward Yang, are also very impressive. Lighting melts into the quiet everyday scenes of his films in a way that is very easy.
（1991, by Edward Yang）
Mende: Taiwanese films certainly have a unique charm. Particularly, natural light is skillfully used to create detailed scenes and atmospheres, unable to be reproduced with artificial lighting.
Jiang: “A Brighter Summer Day” is one of his famous films. I like how the lighting in this film directs the story and emotions of the characters. Have you ever thought about making a film?
Mende: I have some interest, but it seems like it would take an awful lot of energy. I think making a short film of 5 to 8 minutes would be a more realistic challenge. Particularly, I am interested in making a film that would rely on light and shadow only to convey different emotions.
Jiang: Yes, a short film is probably more realistic. A film about light and shadow sounds interesting. I think I am only suited for the viewing side of movies, but I find lots of inspiration from watching movies.
Mende: As a lighting designer, there is a lot to learn about light and shadow from movies and film. For example, compared to stage lighting or architectural lighting, scenes from a movie are detail-oriented and cut and shot specifically. The quality of light, placement of shadows; everything is calculated.
Jiang: Yes. I think it would be fun to hold a cinema lighting internal competition with the LPA staff. Everyone could present a scene from a movie and make a case for the lighting. It could be a chance for new discoveries.
Mende: That is a good idea. It might be fun for everyone to choose maybe a 5 second scene and give a short analysis of the light and shadow. What scene would you choose?
Jiang: I think I would go with the scene from “The Godfather” where Don Corleone is speaking in the dark. The light shining from the left emphasizes both his air of authority and sense of isolation. How about you?
Mende: The light and shadow in old black and white Japanese films by Yasujiro Ozu or Akira Kurosawa bring back many memories. But I would probably go with “Diva.” The beauty of natural light in this film is indescribable, particularly the bath scenes with light cutting through the window.
Jiang: This sounds like fun! This could be a good opportunity for staff to think about and reflect on the relationship of lighting design and cinema.
