Deschanel: Your lighting always feels real, but in many shots, there’s often light in a particular place that draws the eye to the key element in the story. It’s as if you’re using light to make the audience understand where to look in the frame.
Hall: Again, it’s like working on a canvas. I look through the ground glass and when I’m putting things together, I’m filling in the important aspects of the story which have to be told in that shot. Whether that means keeping the characters dark and lighting the background, or whatever else, the story is telling me to hide or illuminate something.