If you do not bother to take the time to compose and to light properly, then you end up with something almost less than reality. You end up without the soul, the heart, the art of the moment.

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.

I think that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.

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

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 make a film for a million dollars and then it costs $10 million to sell it. That's the problem at the moment with independent filmmaking: You can make it cheap and then there's no money to market it.

I am not against digital at all.