Alar Kivilo: Beveled Mirrors

From American Cinematographer, The Root of All Evil by Jay Holben (December 1998)

For moodier moments, Kivilo used hard light reflected into the sets using beveled mirrors.

"I'd pick a dead corner of the set and have Joey black it out so no light was there. I'd then aim Par cans or sometimes HMI Pars into the mirrors and splash light into random spots on the set. I'm always searching for the best kinds of slashes, which have an organic feel, and these beveled mirrors provided that. It was perhaps the only slightly stylized addition I made to our otherwise simplistic regime, in that there was no logical source for that kind of light; my thinking was that it was perhaps coming from a streetlight outside or something. Those scenes were about mood, and it was great to use the mirrors rather than backlight an actor. I'd just bounce a slash into the background and silhouette them against the set."

- Alar Kivilo, CSC

Vilmos Zsigmond: Freedom on Set

From American Cinematographer, A Poignant Pas de Deux by Bob Fisher (December 1998)

"It's important to have the freedom to alter compositions and camera moves and take advantage of things that happen on the set. In order to do that, you need to plan for motivated light sources. Lamps, windows, open doors and mirrors are great because you can put them anyplace. This is especially important when you're working in the anamorphic format, because you can see more of the background behind people."

- Vilmos Zsigmond, ASC