“I later talk to the director, whose first words and descriptions are also very important to me. Some know exactly what they want and others are not so structured — that’s not so important, though if they have ideas, things will usually move faster. But it’s their emotions about the story that are very important to me. And then come the actors and how you will work with them, because for me the camera and lighting are like other principal performers. You come as a cinematographer to the world of the director and you must then perform within it with the other actors. It’s the trip you go on with the director. My relationship with the director is like being his closest friend. He is my brother, my family.”