You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

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 had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.

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

You can't just stick with what you know, you have to evolve.

European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in sound studios, and that's a good thing, because in the studio system those movies would never have had a chance. And since we were coming from Europe, it was natural for us to use that simple style. Small budgets, less equipment, that was just how it was.