(john bailey) very bright, hot sources and very deep, deep shadows.ell, can we turn the light on now? (woman) no, we can't. because of all the things that happened during the war, the development of faster film stocks, the development of portable cameras, smaller dollies, more contained lighting units. it was possible at night, to go out on the streets using the lights in a controlled, dramatic way. the sense of the frame, the world essentially black, which it is at night. and what you see is what you choose to define and pick out with a little bit of light. and this became signature of film noir. (music playing) there's almost a giddy euphoria of being able to use lights and the dramatic use of lights in late 40s, early 50s films. (music playing) (man) turn on the light again, cora, please. all right. waste your money. (edward dmytryk) we wanted to spend as little time with the mechanics, lighting a set, that kind of thing, setups, to give ourselves more time with the actors, to get the best possible scenes out of them. with film noir what you did is