From American Cinematographer, Of Loss and Hope by Zade Rosenthal (March 1999)
"Once we'd set a wide shot, I liked to take out a wall and place a 20k through two muslins 30' or so away and get this very soft, white light into the room that we would cut closer in to the action to keep it off the walls. That all worked very well. It was a very beautiful, soft source that looked as if it wasn't there at all."
-Stephen Goldblatt, ASC