I'm always looking for directors who are very strong, they have great ideas, but on the other hand, that need help. It means they rely mostly on my eyes.

I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.

As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.

If you do not bother to take the time to compose and to light properly, then you end up with something almost less than reality. You end up without the soul, the heart, the art of the moment.

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.

I really like to work with people who know a lot, but they also give me space so I can add something to the movie.

In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.