Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

So much of the work is intuitive. The resistance you detect is just that, a kind of evasion, a sense that too much analysis will inhibit creativity.

You can mix in certain sensitivities as a filmmaker.

It doesn't take any imagination at all to feel awed

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

If I can't make the kind of film that I want to make, then the hell with it.

I carve stone. I've got hammers and chisels and I carve from sandstone. I just did a big mural of birds and trees.