I don't know the American photographers as well, but I admit I love Ansel Adams. His landscapes are so crisp.

I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.

I love the Dutch impressionists - Vermeer, Rembrandt. What they were able to do with light was astonishing. As for photographers, I think mostly of the Hungarians: Robert Capa, Laszlo Moholy-Nagy, Jozsef Pesci. In fact, I have one of his photographs hanging in my house.

There is something more to "reality" than just the tangible. There is also mood, and you cannot skip that.

I'm not really satisfied with the technology today. Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems.

Hayden [Sterling] told me that he was thrilled about the way he moved around the set, that wherever he would go, there would be lighting. He didn't think about his marks because they were set in the only places he could move.

The best way to know when there's good lighting is when you don't notice it.