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.

When you are shooting a movie, you have to collaborate with many, many, many people. First of all, the director with all his own ideas and I can only just help him with that. I cannot change his idea.

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.

If you need to strap a camera to you or get in a small space, then it makes sense to use digital.I do think it is possible to use a digital camera artistically, but it can only be good if you are using film technique. Film has grain, and digital has pixels, and there is not that much of a difference, but digital does not replace the need to create a scene and light it properly and spend time considering the shot.

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.

I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.