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.

It's very much like filmmaking always is-you're always asked to do something that you're not sure you know how to do. So you make an educated guess as to what you think will work and you hope between that and plan B, that you can end up with a product that's really good.

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.

I think that era of mechanically figuring out of how to bring a particular evocative image to the screen was a really important part of my education.

I was involved in the color correction and the digital color correction. In an odd way, you end up making a film many times-the DVD, the archival record of a high-definition master, and so on.

If you understand how the real world feels and looks and sounds it is much easier to create a virtual version of the real world.

Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.