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.

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 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.

It's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart; there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.

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.

You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.

There is a difference between creating something and just capturing something. And when we were using film, it was not that fast, and it was expensive, so there was incentive to make sure the shot was exactly right before we rolled. With digital, it's fast and its cheap, and it's easy to bypass the rest.