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Whenever I arrive on a real location, I have to move around and work out what the best angles are going to be. When I was moving around with the lens, I discovered things that the naked eye would not have.

I was just taking pictures to see what they looked like. Just for the fun of it. It wasn't about anything in some cases. Some of them were just about the joy of opening up an aperture and seeing what shows up.

I always knew I belonged on the other side of the lens.

If I have to point to something specific with the way I move my camera, I love to do it with a wide lens. I like to show you as much of the space as I can, even if I'm following a character.

I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.

It was a hobby I got into a long time ago, hacking cameras. I was able to make my own using different lenses.

Because I come from that old-school optics environment, I know stuff about depth of field and camera movement and things that are not necessarily a part of the curriculum for people who started on a box and have never done anything that wasn't on a box.

I've always had the utmost respect and awe of what the lens can do and what a director can do with just a camera move.

When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.

On 'Rogue One,' we had these sets with tiny little buttons that would light up when you pressed them, and screens full of graphics, and it really felt like you were driving a spaceship. The level of detail; you'll be two meters away from where the action is, but there'll be a little detail there just in case the camera catches it.