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

Each story has a different approach for me and I try to work with lighting that will tell you visually the story better than if it was shot in available light.

I don't know the American photographers as well, but I admit I love Ansel Adams. His landscapes are so crisp.

Technology has a great deal to do with it. The Panaflex camera was a big breakthrough when it came along; it changed everything, because now you could shoot from the perspective of a person riding in the backseat of a car.

As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.

I think all cinematographers, at least most of them, would love to do everything on location because you cannot cheat on location. It's there, it's part of the story usually. You have to deal with the elements. You have the sunshine, you have rain, you have fog - it really makes you work harder to try to match things during the day to make it look like it was shot within five minutes, movie time.

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.