I've been obsessed with Mark Lee Ping-bing's work lately, especially his stuff with Hou Hsiao-Hsien. His dark scenes are often so beautifully rich and saturated, like in Millenium Mambo, Flowers of Shanghai, or parts of Three Times. And he pushes brightness and highlights so far in some of his daytime scenes, like in Café Lumière or The Assassin. I'd never have the confidence to push something that bright, but his images absolutely sing. If I could spend a few days on set to learn from anybody, it would be him.