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.

I am not a fan of having too much gear.

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

You can’t learn your craft by copying me or anyone else. I hope what I do can do is in some way inspire others but I would be appalled if I thought my work was being studied as ‘the right way to do the job’. My way is just one of an infinite number of ways to do the job.

There are some sequences in films that I think work filmicly, that stand out to me, but thats much more to do with the staging and the cutting and the mood of the thing as a sequence, the way everything comes together.

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.