I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.

At the beginning of my career, I shot a lot more documentaries because I liked the adventure, and probably also because it was easier, and still is easier, for women DPs to shoot documentary than it is to shoot fiction.

I have a 22-year-old son, and when my son was born I made a decision to raise him. My husband and I took turns working, and it's easier to raise a kid in the documentary world, where you go away for two weeks or three weeks rather than the months that you spend on a feature. That was and still is much more open to women DPs than the world of fiction.

Do a good job on a good film and you're on the map. Do a great job on a bad movie and not very many people will think of you.

One of my first films was Zebrahead. I remember the producer asking me, "Can you handle the big lights?" And I thought, Do I want to be sarcastic, or do I want the job? So I said, "I don't handle the big lights, I just tell big men where to put the big lights and they do it."

I think women have made progress in cinematography, contrary to women directors, who I think have regressed. There are many more women cinematographers than when I started.

As important as it is to learn the techniques of cinematography, you also have to learn how to deal with the movie set, with show business. I came up with a cinematographer who is very talented, but she was never quite able to handle everything else you have to do - dealing with the producer and the crew and the time frame that you have to follow.