"Sirk and Metty always had their characters kind of edged and separated from their world by darkness. Again, this reinforced a kind of emotional loneliness. They weren’t afraid to use strong chiaroscuro lighting. We used lighting that would generally be associated with film noir – more of a black-and-white style, with hard lights coming from up on a grid."
For more on the technical details and lighting, see his interview: https://www.theasc.com/magazine/dec02/far/page2.html
He comments on Sirk's creation of claustrophobic feeling around characters and on his own use of colors to emphasize internal character conflicts. He comments on the different lighting used in two different bar scenes (black and gay) and on lighting the seasons differently.
At the end, he comments on the emotional vocabulary being different in a Sirk-styled film than today:
"... there are only certain things the characters could say, and only certain gestures they could make. It’s about using a limited set of terms to describe a much bigger set of issues. It’s almost the opposite of filmmaking today. Today, we have endless ways of telling a story about a guy who shoots another guy. We can whoosh in and out, and the camera can be with the bullet as it goes into somebody’s body. The visual vernacular is overwhelming, but the content – what they’re trying to say – seems to be shrinking."