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.

Someone said to me, early on in film school... if you can photograph the human face you can photograph anything, because that is the most difficult and most interesting thing to photograph.

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.

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.

To me if there's an achievement to lighting and photography in a film it's because nothing stands out, it all works as a piece. And you feel that these actors are in this situation and the audience is not thrown by a pretty picture or by bad lighting.

All I’ve ever wanted to do is take stills of people, or take documentaries about people, and try to express to an audience how somebody lives next door. You know what I mean? Just how similar we all are as individuals.

If reviewers don't mention your work, it's probably better than if they do.