It's easy to create something that has a lot of luster, but it's very hard to make something that has a lot of depth.

Once the image was in the digital environment, one of the problems was, we had no means to reproduce the color spectrum, grey scale, and contrast that film produces, without converting the digital file to film, evaluating it, then going back and changing the digital image.

I had done a lot of rock 'n' roll photography when I was in college. I was one of many photographers who worked for The Doors, Jefferson Airplane, and all of these rock 'n' roll bands.

With the advent of digital imaging I made the transition from trying to figure out how to do things to creating objects, characters and the whole cloth. It kind of freed up the analytical part of my brain and I had the opportunity to use more of the creative side of my brain for how things interact with light and integrate into stories.

Digital imaging has untied our hands with regards to technical limitations. We no longer have to be arbiters of technology; we get to participate in the interpretation of technology into creative content.

In the first Spider-Man, at the end of the movie, Peter Parker had to deny himself a relationship with a girl that he's in love with. The very next thing that happens is that he's swinging through the city.

George Lucas wanted this moving camera for all of the photography in Star Wars. He was willing to take a risk with the concepts that I advanced with regard to ways for doing that.