Thank you for your wonderful work. I had a chance to see TG again in the theater before its gone and I took some notes. If you don't mind, I have a few questions about your preferences. It would help me greatly in my craft to try out your techniques in the future.
In Int. situations where there is a daylight and tungsten source, I noticed the daylight was white and tungsten, warm. Because I can't tell if you're on a stage or not, do you prefer lighting from the exterior with HMIs, and in the interior creating a source with a Tungsten unit, cooling it off? Or warming up an HMI unit in the interior for the tungsten source light? Have you ever noticed a difference in the quality of light between an HMI and a Tungsten unit?
I particularly loved the warm sources (Rooster's on the stand, and the reverse of the lawyer) in the courtroom scene that I felt you were motivating them from the pools of daylight through the windows onto the hardwood floors. Did you bounce off of muslin for the source? It felt very 'earthy' to me. If so, do you prefer muslin indoors, and ultrabounce (or equivalent) for outdoors?
For exteriors, say Rooster and Mattie on horse on a sunny day, what size bounce (12'x12', 24'x24', etc) will you typically set up to fill in? And on the tracking shots, did that bounce travel too?
For the nighttime scenes, did you ever have the colorist adjust the moonlight from bluish to something a little more cyan? I felt I sensed that in the scene when Rooster and Mattie are on the mountainside waiting for LaBeef and the gang to show up.
You're work inspires me even in my lowest times, and I thank you for taking the time to answer all these questions! I have more, but I will try to discover the answers for myself.