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.

Spielberg was very young and starting up when we did Sugarland Express and I loved that, but the main thing was that I really loved his talent.

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.

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.

There are a lot of directors out there that don't like to deal with actors, I think. Many of them have said something like, in the future they will actually manipulate the actors on their computers. But don't believe all this.

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.

When we came to America, the movies here needed a "new wave." European films looked totally different than American movies, which were these lush, glossy pictures with this elaborate production design.