The DNA of suspense is in the way the film is made.

[on digital filmmaking] You always have that discussion with the studios of, "Maybe we should shoot this on film?" And then they go, "Yeah, right..." You go with a really solid argument with great power and strength. And then it gets hacked to pieces and eventually you are there with a digital camera. To me, getting into trying to make this visually arresting was like tearing apart a digital video camera and figuring out what it does really well, embracing it, not rejecting it and saying, "Film is so beautiful and so much better quality," which it is. But, still, saying, "This is what we've got. Let's work the best we can with it". Show less «