You had some exterior night scenes--what are the difficulties of shooting at night?
I think, as a focus puller, the first thing you associate with night shoots is shooting wide open. We had ARRI Rental's DNA LF series, which are really nice lenses: well built, not too heavy, and a good focal depth. Because they open up to T1.5 to T2, you can get a really nice depth of focus on the wider lenses, too. They have a nice contrast without losing their softness. This looks great in low light situations and the LF sensor adds to this. It's a challenge for the focus puller, but it wouldn't be much fun if it was too easy, would it?
What was your favorite lens?
I don't know that there is such a thing as a favorite lens for a focus puller, it depends on the scene. Pulling focus can be very technical, but it also plays a part in helping to tell the story. You can guide the audience or distract them. You can use it to reveal something. So for me it's all about the right lens and the right stop for the right shot. I started off mainly pulling focus for Steadicam, and all of my DPs and operators did a lot of handheld, meaning that I had to learn to rely on my instincts rather than a tape measure in a lot of situations. I believe the ability to do this is a huge advantage for focus pullers. Directors such as Anca Miruna Lazarescu and Mark Monheim, who we had on "We Are the Wave," see this as a quality they can use to enhance their storytelling.