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.

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.

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.

A normal day of working in Burbank is 14 hours, sometimes more. On 'The Revenant' sometimes it was eight hours, but we were shooting only five. So they were short days, but they were very strenuous because of the weather. And it was very dark.

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.