I always try to tell the story the best possible way. I create the mood for each scene in a way that the audience feels that they are right there with me and they feel actually in the mood that was right for the scene.

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.

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.

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.

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

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