Eduardo Serra: Exposure Approach

From American Cinematographer, Dream Weavers by Ron Magid (November 1998)

"Eduardo is very methodical and particular about light. He can create what I call 'exotic experiences,' particularly in smaller environments. He paints in tones photographically, so he'll underexpose a background element in a very measured way — by two or three stops — but he's very conscious that that element is an important part of the shot, which creates this very layered, European effect. He uses a scale of grays to measure each part of the frame. And even though some elements are underexposed, they're all part of the painting, so to speak. Sometimes the objects that are two stops under are actually the most important aspects of the shot. That [technique] creates a kind of unity of emphasis."

- Vincent Ward, Director of What Dreams May Come

Conrad Hall: Lighting to Draw Attention

From American Cinematographer, Leader of the Pack interview by Caleb Deschanel and edited by David E. Williams (September 1998)

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.