Bruno de Keyzer, D.O.P. – "Mojo" combines the energy of a young first-time director, and an experienced cinematographer. I always try to understand the story I have to film and the style that the director wants for it, and than I do it according to my experience. The director Jez Butterworth wanted to re-create the atmosphere of the late 50s in Soho, London, the time when rock'n'roll was coming to England. We did the research about the look of that period through some photographs and paintings, but at the end the director was the one to decide what kind of a look he wants for his picture. He wanted to enter some new ideas, so I helped him to find practical solutions for that. I think that if the script and the director are good, than it is very easy for the cinematographer to film it…

… I am very pleased that here in Bitola I had a chance to meet the great Sven Nykvist again. I had worked as his assistant 24 years ago, on Polanski's "Tenant" and Mall's "Black Moon". It was a precious experience, and I got to know Sven as an extraordinary cinematographer and very smart person as well.

Walter Carvalho, director of photography – "Central Do Brasil" is a film about the pursuit for love and the cinematography follows the changing of the main character on that journey. I tried to find the right way to film that in the script itself. For example, the opening scenes are filmed at the main station in Rio, the place with a circulation of 5-6 million people daily. The photography shows the urban universe as a closed space, where people live like in prison. Than, as the characters discover love on their journey around the country, the shots becomes wider, there is light, the horizon… I do not care that the photography is beautiful – it should be narrative, it should tell the story. The photography is not meant to be admired at, it should serve the purpose and make a whole with the work of the actors and the director.