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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.

If you think and feel what you're supposed to think and feel, hard enough, it'll come out through your eyes - and the camera will see it.

You must photograph where you are involved; where you are overwhelmed by what you see before you; where you hold your breath while releasing the shutter, not because you are afraid of jarring the camera, but because you are seeing with your guts wide open to the sweet pain of an image that is part of your life.

Looking into the camera creates a special eye and soul contact.

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.

This thing called the camera, that takes everything in equally, taught me a lot about how to see.

Saturate yourself with your subject and the camera will all but take you by the hand.

I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

The camera is interested in what you are thinking as opposed to just what you are doing or saying.

In front of the camera I look and I see visually what I've created.