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Click! In other words, I'm in a very controlling position, and I can bring... and I've already... if the camera's on you, your face is very concentrated. You're listening. You don't know what I'm going to say next, and now you're smiling. All these things are the things I work with.

I was writing a scene where a guy was choking another guy to death. You can go online and type 'chokeholds' and watch scenes where martial artists choke each other out. You can hear what noises they make when they go unconscious, see how their bodies flop and everything. YouTube is amazing for the more detailed stuff.

Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.

You can do really slow movements with it, like zooming in for a minute and a half. The audience isn't aware that the camera has moved, but there's subconscious tension there.

It looks better when you do your own stunts, because seeing somebody's face when they're doing them is fun for the audience.

You're suspended sixty feet up in the air, you've been up there for three hours, and all the shot requires is that you have to sort of react to getting punched in the head.

How do you fight when you're trying to pull somebody's arms off or twist their head off? That makes for a different kind of fight.

You don't want to be the guy whose back's to the camera in the emotional part of the movie. So, you have to be aware of the camera movement and what the camera's doing.

The most difficult thing for me is a portrait. You have to try and put your camera between the skin of a person and his shirt.

My natural bent is to have an overabundance of energy, and motion-capture essentializes your every breath, your every move. Seeing yourself through that mask, you realize how far you can pull back and make the performance even more powerful.