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.

Kubrick was one of those directors who actually did practically everything in his movies. He actually directed, photographed, wrote, lit, edited - everything. A few people can be like that.

Hayden [Sterling] told me that he was thrilled about the way he moved around the set, that wherever he would go, there would be lighting. He didn't think about his marks because they were set in the only places he could move.

I really like to work with people who know a lot, but they also give me space so I can add something to the movie.

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.

We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

I think too many film students in America are losing the artistry and not learning lighting the right way.