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The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

It's going to sound ridiculous, but knowing how to pose, how to maintain a level of engagement and variation for a day of shooting, is actually a skill.

I always prefer shooting on locations, because when I'm at home, it's harder to sort of get lost in the world of whatever you're making. It does, it does force this bond and community amongst a group.

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.

There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.

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.

The process of shooting - of choosing shots - is intuitive for me, and I just feel my way towards what seems right.

I think that something photographers find about me is that I work really hard to make sure I know what they want before I start shooting.

I don't shoot movies quickly because I get a lot of coverage and a lot of angles, so we have all the pieces in the editing. I do a lot of takes, but it's because I'm looking for something.

Every shot is unique, even if it's just a close-up, an insert of your hand. You've got to work with the guy behind the lens to get it right, focus in. Those are critical little nothing things, but you've got to work with the people who are trying to put it down, in order to get it.