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.

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

There are many, many different kinds of movies and directors and styles. I don't mind that a movie looks like a movie.

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.

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.

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