Some movies are what I would call murky. Just because it's murky doesn't make it artistic. It makes it hard to see.

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.

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.

Jack [Nicholson] really knows about the camera. He's one of the directors who likes to play with the camera. He'll change things around, play with lighting, things like that. He'll even spend hours on the set-up for an insert shot. He's an interested person who gets involved in all the aspects of the films he is making.

I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.

I think that film is still an artform and it doesn't really matter if you're using a digital camera or a film camera.

It's all about special effects and explosions now. It leaves me just cold when I walk out of the theater. There's no heart; there's no soul. Movies used to be about people. It's as though we don't tell stories any more. The studios have to make money, and if you want to make $20 million, you have to spend $200 million.