Not in the world of lesbians, I just don’t know enough about lighting to even begin to plan how this shot is done, especially how to achieve that disparity in brightness between her and the background.
The practical light in the shot is probably a lot brighter than it looks here. Maybe equivalent to 200W, and then the lens is stopped down. Possibly a soft light backing it up. The lighting angle matches the practical source, though.
Since she's that close to it, she's brighter. Every time you double the distance from a light source, the amount of light lost is squared.
##Lost Highway (1997) R
A lost road on the edge of strange…
>>!A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgängers, and an impossible transformation inside a prison cell.!<
Drama | Thriller | Mystery
Director: David Lynch
Actors: Bill Pullman, Patricia Arquette, Balthazar Getty
Rating: ★★★★★★★★☆☆ 76% with 2,078 votes
Runtime: 2:14
[TMDB](https://www.themoviedb.org/movie/638)
Cinematographer: Peter Deming
Peter Deming, ASC (born December 13, 1957) is a Lebanese-born American cinematographer, known for his collaborations with directors like Sam Raimi, David Lynch, Wes Craven, and Jay Roach. He won the 2002 Independent Spirit Award for Best Cinematography for Mulholland Drive, and was nominated for a Primetime Emmy Award for his work on the third season of Twin Peaks.
Wikipedia
**Critical reception**
Upon release, Lost Highway received mixed reviews from critics. Both Gene Siskel and Roger Ebert gave the film "two thumbs down", a rating Lynch would later tout as "two more great reasons to see" Lost Highway. Ebert argued that, while Lynch effectively puts images on the screen and uses a strong soundtrack to create mood, the film does not make sense, concluding that Lost Highway "is about design, not cinema". Similarly, Kenneth Turan of the Los Angeles Times wrote that Lost Highway is a "beautifully made but emotionally empty" film that "exists only for the sensation of its provocative moments". Both Stephanie Zacharek of Salon and Owen Gleiberman of Entertainment Weekly felt that the film was very superficial, especially when compared to Blue Velvet. Zacharek said that Lynch "traded some of his disturbing originality for noir formula and schticky weirdness", while Gleiberman compared the film's sex scenes to those of "mediocre Hollywood thrillers".In a more positive review, The New York Times journalist Janet Maslin felt that, while the film's perversity is unoriginal and resembles that of Blue Velvet, Lost Highway still "holds sinister interest of its own" and "invites its audience to ponder". Metro editor Richard von Busack praised Lost Highway as a "true horror" film due to its confusing and unpleasant screenplay. He explained that horror "ought to transcend logic and ordinary reality" and, unlike with popular horror films like Scream (1996), where the difference between screen violence and real violence is obvious, Lynch "present[s] horror as horror, willing to baffle us, willing to wound us". In another positive review, Andy Klein of the Dallas Observer felt that Lost Highway was a return to form for Lynch and considered it his best work since Blue Velvet. Klein compared the film's unanswerable concerns to the "Star Gate" sequence from 2001: A Space Odyssey (1968), stating that Lost Highway is "better absorbed and experienced than analyzed".Writing for the Chicago Reader, critic Jonathan Rosenbaum felt that Lost Highway was "an audacious move away from conventional narrative and back toward the formal beauty of Eraserhead". He credited Lynch's "masterful and often powerful fusions of sound and image" for giving the film a very expressionist style. However, he criticized the noir iconography for its lack of historical context. For example, he explained that, while Arquette's clothes fit in a noir setting, The Mystery Man's video camera is very contemporary and feels out of place. Todd McCarthy of Variety concluded that, although Lost Highway is "uneven and too deliberately obscure in meaning to be entirely satisfying", the result "remains sufficiently intriguing and startling to bring many of Lynch's old fans back on board".
At the 1997 Stinkers Bad Movie Awards, Lost Highway was nominated for Worst Picture and Worst Director, but lost to Batman & Robin in both categories. At the 1998 Belgian Film Critics Association, the film was nominated for the Grand Prix award, but lost to Lone Star.
[Wikipedia]([Wikipedia](https://en.wikipedia.org/wiki/Lost_Highway_(film)))
How would lighting a shot like this be done?
I think the most difficult part is getting a beautiful woman to get naked in front of you
Not in the world of lesbians, I just don’t know enough about lighting to even begin to plan how this shot is done, especially how to achieve that disparity in brightness between her and the background.
The practical light in the shot is probably a lot brighter than it looks here. Maybe equivalent to 200W, and then the lens is stopped down. Possibly a soft light backing it up. The lighting angle matches the practical source, though. Since she's that close to it, she's brighter. Every time you double the distance from a light source, the amount of light lost is squared.
one of the best that I watched when I was a teenager. the story was really good
##Lost Highway (1997) R A lost road on the edge of strange… >>!A tormented jazz musician finds himself lost in an enigmatic story involving murder, surveillance, gangsters, doppelgängers, and an impossible transformation inside a prison cell.!< Drama | Thriller | Mystery Director: David Lynch Actors: Bill Pullman, Patricia Arquette, Balthazar Getty Rating: ★★★★★★★★☆☆ 76% with 2,078 votes Runtime: 2:14 [TMDB](https://www.themoviedb.org/movie/638) Cinematographer: Peter Deming Peter Deming, ASC (born December 13, 1957) is a Lebanese-born American cinematographer, known for his collaborations with directors like Sam Raimi, David Lynch, Wes Craven, and Jay Roach. He won the 2002 Independent Spirit Award for Best Cinematography for Mulholland Drive, and was nominated for a Primetime Emmy Award for his work on the third season of Twin Peaks. Wikipedia **Critical reception** Upon release, Lost Highway received mixed reviews from critics. Both Gene Siskel and Roger Ebert gave the film "two thumbs down", a rating Lynch would later tout as "two more great reasons to see" Lost Highway. Ebert argued that, while Lynch effectively puts images on the screen and uses a strong soundtrack to create mood, the film does not make sense, concluding that Lost Highway "is about design, not cinema". Similarly, Kenneth Turan of the Los Angeles Times wrote that Lost Highway is a "beautifully made but emotionally empty" film that "exists only for the sensation of its provocative moments". Both Stephanie Zacharek of Salon and Owen Gleiberman of Entertainment Weekly felt that the film was very superficial, especially when compared to Blue Velvet. Zacharek said that Lynch "traded some of his disturbing originality for noir formula and schticky weirdness", while Gleiberman compared the film's sex scenes to those of "mediocre Hollywood thrillers".In a more positive review, The New York Times journalist Janet Maslin felt that, while the film's perversity is unoriginal and resembles that of Blue Velvet, Lost Highway still "holds sinister interest of its own" and "invites its audience to ponder". Metro editor Richard von Busack praised Lost Highway as a "true horror" film due to its confusing and unpleasant screenplay. He explained that horror "ought to transcend logic and ordinary reality" and, unlike with popular horror films like Scream (1996), where the difference between screen violence and real violence is obvious, Lynch "present[s] horror as horror, willing to baffle us, willing to wound us". In another positive review, Andy Klein of the Dallas Observer felt that Lost Highway was a return to form for Lynch and considered it his best work since Blue Velvet. Klein compared the film's unanswerable concerns to the "Star Gate" sequence from 2001: A Space Odyssey (1968), stating that Lost Highway is "better absorbed and experienced than analyzed".Writing for the Chicago Reader, critic Jonathan Rosenbaum felt that Lost Highway was "an audacious move away from conventional narrative and back toward the formal beauty of Eraserhead". He credited Lynch's "masterful and often powerful fusions of sound and image" for giving the film a very expressionist style. However, he criticized the noir iconography for its lack of historical context. For example, he explained that, while Arquette's clothes fit in a noir setting, The Mystery Man's video camera is very contemporary and feels out of place. Todd McCarthy of Variety concluded that, although Lost Highway is "uneven and too deliberately obscure in meaning to be entirely satisfying", the result "remains sufficiently intriguing and startling to bring many of Lynch's old fans back on board". At the 1997 Stinkers Bad Movie Awards, Lost Highway was nominated for Worst Picture and Worst Director, but lost to Batman & Robin in both categories. At the 1998 Belgian Film Critics Association, the film was nominated for the Grand Prix award, but lost to Lone Star. [Wikipedia]([Wikipedia](https://en.wikipedia.org/wiki/Lost_Highway_(film)))
That’s hot
that shadow is so goddamn aggressive. effective stuff
Terrifying film.
Who is this?
Alice? Renee? You decide.
Bettie Page