I think that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.

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.

I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.

When I was in Hungary in December I was looking at student films and I could not tell which ones were shot on film and which ones were shot digitally. I think that is because the filmmakers in Europe go to four years of film school and learn the techniques.

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

The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.

As an actor, Sean [Penn] is brilliant. And he's really an excellent director, as well. We got along really well.