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I've worked with some of the great cinematographers. So I'm always watching what they do and I'm watching how the director composes his shots, just because I find it interesting as an actor; you're trying to help them out as well.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

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

But at heart, I am more than a cinematographer.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

The more tools we have directors and cinematographers will be able to express more and create different worlds and feelings. It's like having more instruments in an orchestra.

Photography has always been about documentary, the depiction of the instant, a moment, sometimes a place. Each project is somehow an experimentation of a specific context or a character.

Sometimes people get really sniffy about the films you choose if you've done more dramatic projects or you're classically trained.

And later I thought, I can't think how anyone can become a director without learning the craft of cinematography.

My interest in filmmaking was always very much the visuals and images.