Even colors were important to me. If it was a somber scene, the colors were muted and dark. If it was a happy or seductive scene, the colors were brighter.

Make it brighter, ... Make it a different scene.

The color goes from black, which is absolutely great, and liquid colors, to pastels, to chinos and neutrals, to an incredible group of citrus colors: oranges, yellows, greens, and just an explosion.

You know, when they called me about the role, I thought Knots Landing was a show about a houseboat with Andy Griffith!

I always wanted to know what lens they were on, how close they were. I didn't do it with a plan in mind, but I would instinctively gear what I was doing toward what lenses they were using.

It's really easy to get colors right. It's really hard to get black - and neutrals - right, ... Black is certainly a color but it's also an illusion.