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 love Woody Allen. He's very clever, always thinking, and he's great with actors. He lets actors do what they want to do and occasionally he'll give them a specific kind of direction.

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.

In a period piece, particularly a fantasy, the lighting is your own choice, the lenses are your own choice. It's really a great thing for a cinematographer to do. Everything is open for you. You can even be more creative and you can use more shadows than usual.

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.

As the cinematographer is usually more visual than the director is and full cooperation is really the answer and to make a great film, you need a good director and you need a good cinematographer.

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.