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Or actress are on a set doing a big emotional scene, and the first person they look at is the camera operator, after the director's shouted "cut", orsomething, and i love that, just, again, you know, which i experienced with, again, as i said, with richard burton and john hurt in 1984 and it was just a wonderful thing to be that person. having watched a lot of your films that completely makes sense because i think it's true to say you love working on films, which focus on human beings, you know... yeah. ..on people and their stories. you have said that you actually worry that far too many film...

To know each other — and funnily, sometimes it's the quietest set i've ever been on. you know, itjust — once you're working on a set, everything becomesjust... i don't know. it's just... i guess because you know each other so well, you know what they want, they know what you like... exactly, yeah. ..and you've sort of gelled together. yeah, and you read one of their scripts and it's like immediately apparent where they're going. all their scripts are very different. they're very different genres and they play with different themes. but you read that — you read their script and straight o...

I've worked with in films i've worked on, it's not really been like that. and, often, where — often where an actor has a reputation, when they've come to actually the set and the director that i've been working with, they've acted in a different way. i tell you, one of the first films i did and one of probably my favourite films is 1984, the george orwell, and it wasjohn hurt and richard burton — it was richard burton's last film — and that was the moment not only i realised i was a cinematographer because i was on a set with richard burton, but i realised that people are just people. he...

The creative side that you do from the director's guidance and then it's a whole technical challenge to organise how you actually achieve what you have in your minds eye, i suppose. so to dig into this relationship with the director's vision, tell me a little bit more about the coen brothers, and — because you've made, i think, around a dozen movies with them — and movies that many of us have loved over the years, i think it started with barton fink... barton fink, yes. ..and fargo, just a whole raft of great films. how does it work then between them and you? well, the first time on barton...

Often where an actor has a reputation, when they've come to actually the set and the director that i've been working with, they've acted in a different way. i tell you, one of the first films i did and one of probably my favourite films is 1984, the george orwell, and it wasjohn hurt and richard burton — it was richard burton's last film — and that was the moment not only i realised i was a cinematographer because i was on a set with richard burton, but i realised that people are just people. he came with such a reputation and he was such a lovely man. we would sit — we were shooting dow...