They are my favorite prime lenses. I love the fact that you have all the modern mechanisms that allow us to shoot fast or lightweight...For me, trying to visually realize the story, they provide this roundness to the image that is hard to explain.

The DNA LFs are effortlessly beautiful. They add character and texture without being too sharp, and the swirly cat-eye bokeh brings a painterly quality to the image. I love how the wider lenses allow you to be so physically close to a face without distorting it; they are incredibly intimate. 

They had just had that sort of slight period feel to them which I think also fitted our story very well...I knew that the wide lenses would be particularly popular on our film; I think it was the 29 mm that became the workhorse lens, and the 21 mm was used a lot.

The way the DNAs reproduced skin tones and the way they handled faces and fall-off were huge selling points...We really fell in love with how imperfect they were at times, but never in a distracting way that interfered with the overall look, or the performance of the actors.