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From the first moment on the set I was consumed with curiousity about the technical side of shooting a sound picture.

Some things can be perfectly expressed by sound alone and images would only be disturbing. Other times, sound would be possible, but visuals are much stronger and closer to what I want to express and then again, they sometimes overlap perfectly.

When I was younger, me and my brother got a video camera, and he used to direct and I used to act. We used to make these silly, stupid short films, which, looking back now, were probably horrible.

When I make music, it's a very visual thing. Conjures up a lot of images.

Most of music videos were short films - they had dialogue, action sequences. I shot with cranes and helicopters. I wanted to created cinema-like moments.

As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.

Recording sessions were stimulating to photograph, because everything was in motion: the subject, the musicians, the technicians and the photographer. You needed fast reflexes to keep up with moving targets, and sensitivity and skill to get the pictures while keeping out of the performers' eyeline so as not to break their concentration.

Any time you're in front of a camera and have them yell 'Cut, re-shoot the scene,' are you kidding me? That's a huge advantage.

We talked a lot about The Best Intentions and how we could shoot certain scenes in different ways with slightly different bits of dialogue and information, so that later on, we could cut the piece more easily and it would still feel complete, even though it was shorter.

I've done some effects shots. I've done some compositing. And in 'Just Like Heaven' did a lot of, like, motion control and things like that. But never done, like, computer-generated imagery in action.