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In the U.S., it's like, you start with a great script, and then on set - not everybody, but definitely in the Apatow group - you go off, and you're improvising on camera. So while you're on camera, you're saying things that no one else has ever heard before during the actual take.

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.

Looking into the camera creates a special eye and soul contact.

You start blocking out things, and that's a really important part of taking a picture is the ability to isolate what you're - what you're concentrating on.

Look and think before opening the shutter. The heart and mind are the true lens of the camera.

Basically, with a regular camera, you have to take time or allow the camera to focus before you take the shot.

I am a camera with its shutter open, quite passive, recording, not thinking.

In front of the camera I look and I see visually what I've created.

It really just gives you a sense of when you need to have dialogue and when you don't, and if your pictures are telling the story, you don't need to have all this talking.

If you focus your energy on the camera, it takes away from the time you have to focus on the performances.