Nick McLean

“My work in City Heat (1984) was still getting mentions in the trades, and I’d just wrapped Cobra (1986) – another project where I was principally responsible for the film’s moody and stylish palate, lots of shadows and contrast; So when I started Spaceballs (1987) Mel Brooks said to me, “Look, sonny, I don’t want any of this artistic bullshit, and I want none of that dark crap. I paid for those walls back there so I want to see those walls on the screen! Blast the light on ’em!” That’s why Spaceballs looks like a TV pilot, there’s a lot of light. In fact, I probably ­over-lit the film, but that’s the way the studios liked it at that time and it’s also the way Mel wanted it so that’s what I gave them. But if I was to do it again, I would push for something more nuanced and use some effects in there to give it a bit more character.”
― Nick McLean, Nick McLean Behind the Camera: The Life and Works of a Hollywood Cinematographer