The more tools we have directors and cinematographers will be able to express more and create different worlds and feelings. It's like having more instruments in an orchestra.

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.

For each movie that I do, I like to find a specific language to tell the specific story.

'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.

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.

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.