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

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.

It's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart; there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.

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.

Technology has a great deal to do with it. The Panaflex camera was a big breakthrough when it came along; it changed everything, because now you could shoot from the perspective of a person riding in the backseat of a car.

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.

You can't just stick with what you know, you have to evolve.