Every cinematographer I worked with had his own way of solving problems.

The closer the source of light is to a subject, the broader the beams are.

I don't think of myself as a director or writer. I think of myself as a filmmaker.

It took a while for me to grasp that my colleagues believe I have made an impact on the history of cinema.

The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.

There are infinite shadings of light and shadows and colors... it's an extraordinarily subtle language. Figuring out how to speak that language is a lifetime job.

You have to understand the nature of light.