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.

European films had art. And it was easy to make a European film. They didn't come from the studio system, they weren't shot in sound studios, and that's a good thing, because in the studio system those movies would never have had a chance. And since we were coming from Europe, it was natural for us to use that simple style. Small budgets, less equipment, that was just how it was.

Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.

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 love Woody Allen. He's very clever, always thinking, and he's great with actors. He lets actors do what they want to do and occasionally he'll give them a specific kind of direction.

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

I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.