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'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.

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.

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.

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.

I think digital. I think digital and I was terrified about it for a long time. But I think digital because it gives so much more freedom to work with the actors.

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.