From American Cinematographer, A Poignant Pas de Deux by Bob Fisher (December 1998)
AC: Did the different characters have visual signatures in terms of the way you lit them?
Zsigmond: Hugh is kind of suspenseful in the beginning. You don't know who he is or where he's from, but he shows up in a bar and claims he's killed his wife and child. We shot that scene film-noir style, like an old black-and-white mystery. Other characters, like Meredith, are lit more romantically with lots of backlight. However, these were subtle differences, because we didn't want it to look like six different movies.