There's nothing worse than an ostentatious shot or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something. But it's not necessarily right for the film — you jump out, you think about the surface, and you don't stay in there with the characters and the story.

Your whole life informs your eye.

I never really considered film as a career, but I knew I didn't want to be a builder. So I went to art college, and it just gradually happened.

I loved movies ever since I was a kid.

Am I nostalgic for film? … I mean, it’s had a good run, hasn’t it? You know, I’m not nostalgic for a technology. I’m nostalgic for the kind of films that used to be made that aren’t being made now.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.

The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.