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. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. 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.

These days that wouldn't happen - waiting for the light to be exactly right. Because it takes time and time is money. And with these big productions with expensive actors, you just don't have the time to get every shot exactly right.

I should mention Vittorio Storaro, who was Bernardo Bertolucci's cinematographer. You watch those films and they are exceptional.

Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than if it was shot in available light.

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.

Telling the story with only a few shots, I love that style. It makes you feel like you're part of the action, part of the story. It reminds me of the theater, where one act is basically like one long shot. It almost makes you forget that you're seeing a movie.

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.