I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.

I like to say that lighting is about taking the light away. I often like to use the shadows more than the light.

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.

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.

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 was really fortunate from the time I arrived in Hollywood to work with some of the greatest directors from the beginning. I worked with Robert Altman, John Boorman, and of course Steven Spielberg, Michael Cimino, Brian De Palma ... I couldn't pick one of them; they were all different, but they are all so talented.

Some movies are what I would call murky. Just because it's murky doesn't make it artistic. It makes it hard to see.