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I think one day I want to be on the other side of the camera-maybe directing.

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've been a big fan always of getting my camera in different places and trying to seek the unusual vantage point.

I do like being in front of the camera more and more. Having experience behind it has taught me about lighting and angles, how to move, and what looks good and what doesn't.

I hate cameras. They interfere, they're always in the way. I wish: if I could work with my eyes alone.

If you're setting up lights and tripods, and you've got three assistants running around, people will want to get you out as fast as they can. But if you go the opposite way, if you make the camera the least important thing in the room, then it's different.

A lot of things in films are cheated with the use of camera tricks, so while it may feel unnatural to do, when you look at the result, you realise that it is right.

Sometimes the character will go into a completely different direction than I expected once the cameras start rolling. That's what I love about what I do.

Throughout my pictures I employ a lighting which is not naturalistic.

A lot of these angles are really about trying to mimic broadcast sports angles in order to anchor the scene, to sort of normalize it before it becomes abstracted.