The visualization of my films is always very important to me and I work very closely with my cinematographers. I've never had the same cinematographer twice now that I think about it. I don't know why that is. Everyone is always busy. They do three or four films a year. It's vital to me.

The visualization of my films is always very important to me and I work very closely with my cinematographers. I've never had the same cinematographer twice now that I think about it. I don't know why that is. Everyone is always busy. They do three or four films a year. It's vital to me.

I always love depth. I like looking through windows, through frames, through spaces into other spaces.

My job as the director is to make that as authentic as I can and not to disturb the revelry.

I've always had a feeling that the image is 50% of the emotion that an audience feels and it's subliminal. Yet, how you arrange the elements in front of a camera has an impact on people's belief about that world in some way.

Where you have a villain in the piece or the antagonist, whatever you want to call them, there has to be humanity at the core of it or it's faintly ridiculous. Nobody is just villain through and through. You have to feel something for them.