It's great to be recognized for work, and the work is great, but once you have the awards, it becomes less important. It just gives you the ability to do better work, in my opinion.

We exchanged a couple of ideas and stuff like that, but that's about it. I just think ... consulting on 'Tintin' was very interesting because you try to ... not educate, but inform the animators [about] what the lighting looks like, but [in the end] they do it themselves. I don't actually go and sit there with them. [We] just had a couple of conversations.

It would be horrible to be micro-managed! I don't think directors can really micro-manage people. It's just impossible.

[ 'American Dream' ] probably will [go] somewhere in Europe. You get 3000 entries [to] Sundance, and how many movies get [screened]? So, I'm a realist. I'm very much realistic in terms of if this movie will be released in the States. Probably not.

["War Horse"] does have action as well, but we allow the audience to appreciate the environment where these characters are from because the lens shapes the people, as we know.

'Sugarland Express' was pretty amazing.

These days, you'd probably shoot it in the daylight and manipulate it in the post. That's [how] most people would do it. [I did the same thing with] with 'Diving Bell and the Butterfly'. No CGI. It's all live photography. And I like that, it's very challenging and exciting to be able to do that.