The result not only mirrors the film’s themes it becomes the primary storytelling device. In a film about the erasing of memories, the lighting itself has a fragility in its washed-out beauty that creates a visual texture. The lighting serves as vital exposition - clearly delineating the different dimensions and supplying inventive transitions - which allows the complex science fiction device to melt into the background and the metaphysical poetry to rise to the top. Kuras’ cinematography is the glue holding together writer Charlie Kaufman’s narrative insanity and director Michel Gondry’s ephemeral visual poetry. On “Eternal Sunshine,” the camera wizardry disguised the movie’s modest budget. It has a much bigger feel than what it actually was, with in-camera trickery that would now be done with a lot of effects.” Yet like most Kuras-philes, the film Morrison points to as the pinnacle of her ingenuity is “Eternal Sunshine of the Spotless Mind”: “ broke every rule and did it with such elegance and poetry. “Each story they told together was completely different from the one they did before, which is collaboration in its best form,” Morrison said. Morrison also singled out the scope of Kuras’ work with Lee, which epitomizes her flexibility. She had, and still has, a keen sense of visual poetry. “We shot ‘Angela’ on 35mm, in an economical way, with moving masters, a style which Ellen was already very adept at. “There’s a resourcefulness, she’s just one of those people always making lemonade,” said Morrison, who highlighted how inspirational it was to see what Kuras did with an early DV camera on Miller’s highly acclaimed “Personal Velocity.” For Miller that unique and diverse set of skills was what helped lift her first feature, “Angela.” “Ellen understood the spiritual needs of the film, as well as the technical needs,” said Miller.
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