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Most people think of cinematographers as choosing subjects of an epic nature to show off what they do - big, sweeping images of war or pageantry.

I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

All these directors who do different locations forget that one room can be shot from a million different angles and a million different ways. When I direct a movie, I'm going to use that.

Everything that is somehow related to direction and filmmaking fascinates me, like cinematography.

In photo shoots, I rely on instinct. Which is not to say I don't bring ideas to a project or consider it beforehand.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

When I'm shooting on location, you get ideas on the spot - new angles. You make not major changes but important modifications, that you can't do on a set. I do that because you have to be economical.

Every cinematographer I worked with had his own way of solving problems.

All my film ideas and subjects have come from photography.

I do get very involved in making a scene work without giving too much thought about how it affects the overall, which I think is hard to know in any case.