Then the camera draws wide again as Lily returns up the stairs. If the scene were done in cuts, I would have lit the wide shot hard and the close ups softer, with glows coming from magical directions. Because the wide end of the shot defined the sources, I could not change them during the shot. I did ask if Gillian could face the moonlight, as this would look better than being side lit. The power of the developing shot on this scene overrode my lighting considerations and, besides, Gillian is a very beautiful actress.
Grace occupy the balcony across the way.
Gus Trenor, her broker of a large stock return and the husband of her best friend, sits in the same box to her right side. Later at the opera, Aunt Julie finds out about Lily's crude vice, and Trenor plots out his next move of the evening. Once Lily steps down from that balcony, we never see her face in that light again. Visually, it's a pivotal sequence of the film. When the crowds are walking up a staircase at the opera house, we used a small crane to follow Lily.