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.

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.

When I first started, I saw myself shooting documentaries or making documentaries, which is what I did, mostly, for a number of years. So it was quite a surprise how I found myself shooting features. It was like my wildest dreams as a kid collided.

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.

When you move the camera, or you do a shot like the crane down (in Shawshank) with them standing on the edge of the roof, then it's got to mean something. You've got to know why you're doing it; it's got to be for a reason within the story, and to further the story.

I am not a fan of having too much gear.

Your whole life informs your eye.