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I have a dark room, and I still process film, but digital photography can be a totally lying kind of experience; you can move anything you want... the whole thing can't be trusted, really.

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

I really got into filmmaking through photography.

It's a question of dropping the armor and getting up and doing the work you want to do. And film at first is frightening because you are like, 'What's that camera doing?' But then it becomes family and therefore a really wonderful experience.

The film camera's ability to physically move through space, not zoom through space - every time we have a video camera the movement is through zoom; every time we have a film camera it is a physical movement.

I've always been into visual effects. It was something I took keen interest in before films happened. Ironically, I am a part of 'Raaz 3,' a film that is shot entirely on 3D. It has encouraged me to pursue my dream. Hopefully, if time permits, I will travel to the United States and attend a crash course in visual graphics and animation.

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.

Film is built for kinetic movement and crash and burn. It's a great tool for spectacles. But if it's not rooted to something a little higher, you're just kicking your butt around the corner. You can only take so much of that. You have to have some sort of foundation to explode from.