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 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.

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.

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

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 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.