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

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

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

You make a film for a million dollars and then it costs $10 million to sell it. That's the problem at the moment with independent filmmaking: You can make it cheap and then there's no money to market it.

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.

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.

I love to make movies about young people - young scientists that are inventing things and all the writing they did was very funny and very true.