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.
I was able to shoot a movie like 'Tree of Life' because I had done 'Y Tu Mama Tambien.' The camera needed to capture that sense of freedom and joy and life you have when you're young.
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
The language of film is further and further away from the language of theater and is closer to music. It's abstract but still narrative.
When you're shooting with long lenses, even if you're shooting a close-up, you feel the air, the distance between the camera and the subject.
'Little Princess' was the first big movie that I did in America with big stages where we had kind of a different schedule to work. We had a great production designer, Bo Welch, and we had time to think about the movie in pre-production.
I'm very attracted to directors who want to experiment. The thing that attracts me the most are people who are trying find a language that is correct for their film, for that specific film.
I would love if film doesn't disappear, if we can have film forever so we would have all these brushes, all these possibilities available.