Lighting Concept Statement

Scenes one and three take place in the office of the studios head of production,
at the Big Table. I see the room as having overhead bright fluorescent lights with a light
blue hue. The design is basically McCandless in placement and instrument type. I
choose to use also one window representing natural light entering with vertical blinds
using a yellow hue and gobo with vertical lines, simulating the blinds or even jail bars.
Scene one (day one) occurs closer to midday and all lights are made brighter in
intensity, not just the one exterior window, in parallel to the mood of excitement.
In scene three (on day two), the time is earlier in the morning, allowing for the
sun on the other side of the building, indirect exposure. Thus, the light is reduced, but I
choose to lower all lights somewhat, since the mood though suspenseful to the
audience, ranges from desperate to hopeful. I also have added a special effect for the
ending, a gobo with vertical lines and an additional S-shape, together forming dollar
symbols ($) using a green light.
For scene two, I have chosen a more dramatic side lighting with the key source
on the couch side of Karen, who is more in the light than mesmerized Bobby who is
seen in her shadow. In parallel, I use a nonfunctioning practical table lamp as the set
piece. Also, I have placed a LEKO at upstage center using a Fresnel with red gel as
backlight, in what would be the bedroom area.