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.

Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.

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

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.

I'm not really satisfied with the technology today. Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems.