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

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.

I was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them; they were all different, but they are all so talented.

I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.

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

I encourage film students who are interested in cinematography to study sculpture, paintings, music, writing and other arts. Filmmaking consists of all the arts combined. Students are always asking me for advice, and I tell them that they have to be enthusiastic, because it's hard work. The only way to enjoy it is to be totally immersed. If you don't get involved on that level, it could be a very miserable job. I only have one regret about my career: I'm sorry that we are not making silent movies any more. That is the purest art form I can imagine.

You make a film for a million dollars and then it costs $10 million to sell it. That's the problem at the moment with independent filmmaking: You can make it cheap and then there's no money to market it.