I'm a great believer in relativity when making movies. Relativity, in my mind, meaning "Light to dark, big to small, good to bad." You visually embrace these things to enhance transitions and instantly paint environments and moods.

Good films are not made by accident, nor is good photography. You can have good things happen, on occasion, by accident that can be applied at that moment in a film, but your craft isn't structured around such things, except in beer commercials.

I don't really like directing. I've had a good relationship with actors, but I can do what I do and back off. I don't want that much romancing. I don't want them to call me up at two in the morning saying, 'I don't know who I am.

If you take a sophisticated idea, reduce it to the simplest possible terms so that it’s accessible to everybody, and don’t get simple mixed up with simplistic, it’s how you mount and present something that makes it engaging.

A cinematographer is a visual psychiatrist, moving an audience... making them think the way you want them to think, painting pictures in the dark.

There are a lot of cameramen but not so many photographers. And a lot of cameramen attack from a technical approach without much imagination. They look, but they don't see.

A huge problem in movies or with people who work on movies is that two people can look at the same thing but they don't necessarily see the same thing.