“For me, the Gluttony scene was about darkness ... when the detectives come into the room, it’s very old and shiny — greasy. There is not supposed to be light there. So when they aim their flashlights, the light shines back to them. Turn them off, and the room would be black. The room itself was underexposed, but we would overexpose the flashlight beams to really pick them up, though they were already two to three stops over the room. To have them fill the room a bit, I put bounce cards here and there in the corners and on the floor. I tried using reflector cards, but the look was too vulgar ... But what we also did differently on this picture was to underexpose so much, to go into the darkness. And only the director can lead you so far, because you can’t go by yourself. David Fincher deserves a lot of credit. It was his influence that pushed me to experiment and got me as far as I did on Seven.”