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.

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.

Every shot I have ever made has been a compromise in some way. No image has ever been as good as the one I envisioned in my mind's eye.

Partly why I love to operate is that I love to watch an actor within a shot. When you watch a shot, and you know that everything's come together, I feel I'm the first person watching it. I always get pleasure out of that.

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.

I do miss the idea of the crew getting together to watch dailies after work. I will usually get selected dailies printed on film especially for the early part of a shoot as HD dailies really don't tell me much photographically.