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.

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.

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 concerned that the subtlety is being lost and every film tends to look very contrasty and saturated.

I thought that was a pretty stupid argument, really, because it's the final product that matters. The look of the film, however it's done, is still the cinematographer's vision in my mind. People said the same when color film came in, didn't they? The world evolves, and image-making evolves.

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.

I want a script to affect me in some way. I am usually drawn to character studies, scripts about real people and the world we live in not some fantasy.