When you're working with film and you hear that mag starting to roll and you know that there's thousands of dollars just spinning around, it's another stress element, which I don't enjoy at all.

When you see Paul Thomas Anderson's The Master and it's shot on film at 75mm it's...you know. It's hard to compare. But I still think that digital is close enough, and I think it's getting closer and closer to be...there's no doubt it's going to be taking over completely unfortunately.

I was so lucky to be working with amazing actors like Shia and Evan and James Buckley and Mads Mikkelsen and Rupert Grint and Til Schweiger and those guys, so you really want to make sure that they, that I don't have to shut off the camera because I'm running out of film or it becomes too expensive.

What I love about the filmmakers that I mentioned [Danny Boyle,Leo Carax], is that it's visual but it's also, you see that the characters are the most important thing. The actors are the most important thing.

Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.

I've been working with music videos and commercials, they are naturally very music driven and visual driven. So that feels like my natural element to be working with that.

What I've always loved about watching movies myself of course that's [Bas] Luhrmann. His Moulin Rouge! is incredible, his Romeo + Juliet. Wow. You know. When I saw those, those really were transformative films for me.