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My father taught me to paint when I was young with watercolors and so I learned at a very young age the essential elements of the value of light and composition.
It was the baseball fantasy of a lifetime - to be able to sit on the bench with all those professional athletes. I got to take my son along because I wasn't sure I would be able to play with them.
If you take 2001: A Space Odyssey as an example of somebody who creates a new language in film by what he was able to accomplish with art direction, photography, lighting, etc., it is still a gold standard for science fiction.
I've worked with Robert Altman a couple of times too.
I never set out to be rich and famous. I wanted to follow my own path.
I don't think that digital photography is romantic yet. It's not sympathetic the way that film is.
I bought all the stuff, but nothing was as satisfying to me as using the Rolleiflex because it was one shot.
I always thought that it was kind of silly that a baseball card could be worth so much money.
For example, Michael Mann's film Collateral - there is certain kinds of stories that lend themselves to digital photography. Some things are very raw stories that digital photography kind of lends itself to.
Everything is so convenient in New York.
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