I love the Dutch impressionists - Vermeer, Rembrandt. What they were able to do with light was astonishing. As for photographers, I think mostly of the Hungarians: Robert Capa, Laszlo Moholy-Nagy, Jozsef Pesci. In fact, I have one of his photographs hanging in my house.

Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.

I'm always looking in the lighting to tell the story in a different way than it actually looks in real life because it's, for me, more contrast sometimes has to mean it's softer than normal.

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.

If you do not bother to take the time to compose and to light properly, then you end up with something almost less than reality. You end up without the soul, the heart, the art of the moment.

I look at a picture like Scarecrow and think, 'Jesus, how could they have let us make that?' I mean, if you used technology that old nowadays, it would look like old Hollywood.

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.