Cinematographer Robert Yeoman has one of the most interesting CVs in Hollywood, starting out in an array of Eighties classics such as William Friedkin’s To Live and Die in LA and Gus Van Sant’s Drugstore Cowboy, and collaborations with directors as diverse as Wes Craven (on Red Eye), Drew Barrymore (on Whip It) and Paul Feig (on Bridesmaids, Spy and Ghostbusters) in the past decade.

But his most fruitful, and arguably most prolific, creative partnership has been with Wes Anderson, the mischievous auteur who has turned tales of young love, family dysfunction and jaguar sharks into fanciful, elegant bits of cinematic joy.

Having worked on all of Anderson’s live-action feature films, Yeoman has developed a unique kind of creative shorthand with the director, matching his playful ambition over two decades of collaborations. Even if Anderson’s ideas sometimes seem a tad too ambitious.

“So many times he would say to me, ‘Oh, this is the kind of shot I’m looking for,’ and I’ll think to myself, ‘How am I going to do that?’ and it’s impossible!” Yeoman says down the phone from Los Angeles. “But we always find a way of doing it, and that’s a big part of working him – we always find a way of pulling it off.”