I did sound for a number of years, so I know the pain of the sound mixer on a set where everybody was talking.

'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.

On 'Y Tu Mama Tambien,' we started exploring shots that are longer, where the camera is moving around the actors, and there are no cuts, and you feel like you're there.

I have a very healthy dream life. I dream a lot many, many, many nights a week. When I'm shooting, it's even more - I don't know if it has to do with stress or with creation.

The dynamic range of the digital camera is pretty crappy compared to film, but now film is not great because the labs have closed. It's going to hurt a lot of the movies that we did in this gap because I think they are going to look very old very soon.

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.