On practical level I can't pick up the camera until I think I know what I want. I don't wander around. It's almost impossible for me to pick up a camera... it's really hard.

The world is a colony of the US. The twentieth century was the US's century.

When you shoot on film, you don't know whether you've got it or not until you get the film processed, and so it changes the relationship we have with the subject whether it's a landscape or a person in a so-called controlled environment in a chair in a studio in front of you.

For all the textbook reasons - any individual's reading of a photograph is preceded by the evidential authority of the medium. You have the literalness of a glass on a table - and at the same time of that evidential authority that you can't get around, there is the possibility of universalizing the subject - of getting the whole world into the picture.

Most of life is grey, with a little tiny bit of black and white. We're always subject to what I call the compression industry, which is an attempt to compress a million shades of grey with a little bit of black and white to just a hundred, or to ten, or to one!

I was always amazed at how beautiful the light was. At different times of the day the landscape becomes a different place. Dawn and dusk, it's a different place.

It was the dreamscape of the suburbs that interested me.