“How to Be a Good Wife” is also a film that utilized strong lighting…

Yes, it's a comedy with a 60s “Paris Match” look. There were a lot of lights inside the house. The idea was to see the exteriors all the time through the windows, without being overexposed. The latitude of the ALEXA LF sensor allowed me to do so. I used a lot of ARRI SkyPanel indoors and HMI sources outside. “Waiting for Bojangles” had another image direction. It's a psychological drama, but with a Boris Vian imagination. We are closer to the aesthetics of photographer Jean-Marie Périer, who, by the way, used 35 mm a lot.