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I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.

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.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.

You have full-field view when you're watching the film. Eye in the sky, it's a lot easier to look at it that way than when you're back behind center.

It is good to be in front of the lens to appreciate more being behind 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.

You learn tricks to make action look more dynamic - having the fight come toward you or shooting on a longer lens to compress the speed.

Once you get into your stride, the camera becomes like another person in the room. It's like being in a very small theatre where there is no getting away with anything because the audience is centimetres away from you.

What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.

You must photograph where you are involved; where you are overwhelmed by what you see before you; where you hold your breath while releasing the shutter, not because you are afraid of jarring the camera, but because you are seeing with your guts wide open to the sweet pain of an image that is part of your life.