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I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.

I try to tell my story as simply as possible, with the camera at eye level.

Photography must be integrated with the story.

I think from an early age I was aware of how a camera can tell a story, how a movie camera can affect how the narrative is told.

A model needs to know how to project herself into the camera.

With the fight scenes, they would take a video camera and shoot alongside the camera so we would piece it together on the computer and had an extremely rough cut of what we were doing.

Film gives us the luxury of deciding where the viewpoint of the audience is, and by knowing that, we can very effectively design around what is actually seen on camera.

People are fascinated, for whatever reason, by human drama, and the idea that cameras are capturing ambient stories.

On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.