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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.

If everyone worked with wide-angle lenses, I'd shoot all my films in 75mm, because I believe very strongly in the possibilities of the 75mm.

3D prefers you to use wider lenses because when things are out of focus, and yet it's in 3D, it bothers you.

I always wanted to know what lens they were on, how close they were. I didn't do it with a plan in mind, but I would instinctively gear what I was doing toward what lenses they were using.

If I can say one thing for my pictures, it is a certain craftsmanship. A thought which has gone into every angle. There is nothing there without an optical reason.

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'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.

You have to kind of be invisible when you photograph children, so you use a longer lens.

Optics, developing in us through study, teach us to see.

The Widelux is a fickle mistress; its viewfinder isn't accurate, and there's no manual focus, so it has an arbitrariness to it, a capricious quality. I like that.