The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

I'm confident that the wrong cinematographer on a project can very much derail the mood and the feeling on set when you're trying to create a bubble of trust, effectively.

It's a very tricky relationship, the cinematographer and the director as a woman.

I thought of learning cinematography, so I assisted a cinematographer for an ad.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

I've got to give a lot of credit to my cinematographer, Chung-hoon Chung, who is a master and among other things shot 'Old Boy,' which is a very famous single-take fight scene. He's really a true master.

When shooting in real spaces, the work of a cinematographer begins where location meets production design meets time of day. No movie light will ever look as real as the sun, so scheduling becomes truly paramount to naturalistic lighting.