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.

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.

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.

I like to work with talented people, I must say that. That's my weakness. I really like to work with good directors. That doesn't mean I don't like to work with starting up young directors, that's fun also.

When I do a still picture, I'm doing it all by myself with no help. I'm designing everything. I am my own art director. I'm doing everything. I'm directing, editing, whatever.

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.

Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.