I found out very soon that
Terrence Malick was a man who was very much interested in photography, as well as the story and the actors, but that he also knew a lot about photography, which very few directors do. So he not only let me do what I always wanted to do which is to use less and less electrical light on a period film - but even pushed me in this direction. Rather than reconstructing the light, we would be waiting for the right natural light at the right moment. And it was very exciting to work with a man like that.