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I was part of a group that had a cinema club so every week we would project two or three movies on 16 or 35mm.

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.

So often when we historicize material, we use this big wide-angle lens.

I'm one of the few directors that actually shoots a lot in camera.

I came to the industry with wide eyes and an open heart thinking I was going to make a few films that really meant something that I could pour myself into.

It would be great to be 105 and still making films.

All film directors, even the ones using 3-D today, want you to look at what they chose.

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

I would put my pictures up against anybody's in this world. Certainly in my own day I bow to no one. I don't think there's another director in the world who works harder to make better films than I do.

When I started making films, all the theaters, the screen would slide open the widest possible point, and that would be widescreen. But now, theaters are geared up for around 16:9, so scope is now 'letterboxed.' In a way, if you want the big picture, you shoot 16:9.