Sometimes the shots serve as homages to other movies and other directors, like Hitchcock.

I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.

I think that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.

As an actor, Sean [Penn] is brilliant. And he's really an excellent director, as well. We got along really well.

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.

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 work with talented people, I must say that. That's my weakness. I really like to work with good directors. That doesn't mean I don't like to work with starting up young directors, that's fun also.