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.

There is something missing in a lot of digital filmmaking, something I call "poetic reality." That's something you see played out in film noir, where the technique establishes the mood.

There are, of course, many, many, many good cinematographers and unfortunately they don't work as much as many of those people who do those crazy, stupid movies.

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

These days that wouldn't happen - waiting for the light to be exactly right. Because it takes time and time is money. And with these big productions with expensive actors, you just don't have the time to get every shot exactly right.

In Slumdog Millionaire when you are immersed in the point of view of children in the slum and the bustle of the city, the handheld camerawork is amazing. A handheld camera is perfect for establishing point-of-view and for instilling the feeling that you are there.

I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.