Lighting through windows is the cornerstone of a DP’s day interior work. I’ve previously written about the various ways that hard light through a window can be used. Today I’m going to look at some examples of how dressing on the windows – anything from curtains to paint or newspaper – can create interesting lighting looks and help you tell the story.
Please note: there are some minor spoilers in this post, and a quite big one for the season two finale of Mr Robot.
1. PAINTS AND STAINS
Director Michael Bay and DP John Schwartzman, ASC recycled many techniques they had used on commercials when they shot Armaggeddon. One of these was to create coloured light, not by arbitrarily gelling lamps, but by having the art department paint the windows. In an early scene on the oil rig, the windows are yellowed to give a warm feel to a romantic scene between AJ and Grace, contrasting with the cool, monochromatic look of the asteroid later on in the film. “The windows here are like a Filon fibreglass that we then threw some orange asphaltum stain on to give it that warm tone,” Schwartzman explains in the commentary.
During the first season of time travel thriller 12 Monkeys, our heroes James Cole and Dr Cassandra Railly base themselves out of a disused shop. It’s a safe place they retreat to when they need to plan or regroup, and a womb-like feeling of warmth and security is created visually by the orange newspaper covering the shop’s front windows.
The season two finale of Mr Robot uses a similar technique to a very different end. Gaps in the paper here allow violent shafts of light to pierce the room, foreshadowing the bullet which is about to pierce Elliot’s body.
When I lensed the race drama Exile Incessant in 2015, director James Reynolds wanted to visually represent the ideological differences between the older and younger South Africans. I decided to bathe the progressive youngsters in soft, low-contrast light, while throwing hard light and deep shadows onto the more narrow-minded adults, whose world is black and white in more ways than one. For the hospital scene pictured below, I adjusted the venetian blinds – with a 2.5K HMI behind them – to give a contrasty pattern of light and shade on the old man.
Lighting through blinds is of course a famous feature of film noir cinematography, and has found its way into countless movies of all genres over the last several decades.
4. Diffusing curtains
Placing sheer curtains on a window can solve two problems for filmmakers: disguising an unwanted or non-existent (if on stage) background, and softening the light. This is a widely-used technique; in fact it’s common practice for art departments to consult with DPs about curtains to ensure that the right options are available for the style of lighting that will be employed.
In an episode of my YouTube series Lighting I Like, I discussed a scene from The Crown – Netflix’s dramatisation of Queen Elizabeth II’s reign – in which King George VI is found dead. Unlike many daylight interiors in the series which feature hard shafts of sunlight, the scene in question employed net curtains to create a softer, more subdued light, appropriate to the sombre content.
5. Billowing curtains
The season two Breaking Bad episode “Grilled” sees out-of-their-depth crystal meth cooks Walter White and Jesse Pinkman taken hostage by crazy drug lord Tuco Salamanca. Realising that their only hope of escape lies in killing Tuco, Walter and Jesse plot to poison his burrito. The episode bristles with tension, generated not just through the script and performances, but also by flapping curtains which paint the scene with restless shadows. The scene appears to have been shot on location, so whether the wind was artificial or just a happy accident I don’t know, but either way it adds immeasurably to the atmosphere.
Both Breaking Bad and 12 Monkeys feature in the second season of Lighting I Like – coming soon!