I always work with the same composer, his name is Ali Helnwein. I don't have a musical background.

The eyes sparked a lot of things for me, it could be somebody remembering something they had witnessed or heard about, or it could be the person in the photograph that was experiencing a tragedy or it could also be the spectator looking on from a safe distance.

I never plan anything in an analytical way before I shoot, but when I look back there seems to be kind of a primary color palette.

I think the worst reaction that I could get from someone to my photos is some sort of mediocre, middle-range reaction where they really get nothing from it, and they want to move on to the next thing. [I'd rather they be] horrified, pissed off at me, extremely disgusted at how bad of an artist I am.

I always work with the same composer, his name is Ali Helnwein. I don't have a musical background.

With photography, I like to leave a lot of the story, even to myself.

I think that's one of the reasons it's nice to leave out a lot; it can become a lot more personal to people if there is room for them to put their own experiential time track on it.