Even in manipulating the images, I would like to do my dailies in a digital way because you can do so many things in that stage that I cannot do in real photography.

Mexican cinematographers Gabriel Figueroa and Emilio Fernandez were students of both Sergei Eisenstein and Toland. Their exteriors and lighting were gorgeous. And the films Ingmar Bergman did with Sven Nykvist were exceptional.

When I first came to America there still was Look Magazine and LIFE Magazine, and the photography in those magazines was amazing to look at. They had the best portraits, and their news photography.

There is a difference between creating something and just capturing something. And when we were using film, it was not that fast, and it was expensive, so there was incentive to make sure the shot was exactly right before we rolled. With digital, it's fast and its cheap, and it's easy to bypass the rest.

I hope that film is going to stay as an artform and that people won't forget that there are good movies also to be made.

In fact, I probably learned more about photography from studying black-and-white photography in those magazines [Look Magazine and LIFE Magazine] than I did from watching movies here. That's the truth.

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.