I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.

I love my cameras. I love contact sheets. I love the visceral thing of film and I'm not positive that I can replicate my lighting digitally. My assistants tell me I can, but, just stubborn I guess.

When people are described as difficult and have a reputation as difficult it's 99% of the time because they've been disappointed over and over again by people who don't really know what to do for them, and I know I'm going to make them happy and I can't wait to work with them.

I kind of - you learn it, you master it, and then you make sure that it just disappears. You know, like if I could have invisible lights, I would, and invisible cameras. I'm just really trying to get at my subject and I respect the technical aspect, but it is not anything that I think about at this point.

I do select a soundtrack for each of my subjects and again my assistants you know they make fun of me because that is more important to me than the lighting, which I just do in a minute right before, but I spend a long time on the soundtracks.

For me there's several components to picture-taking and it starts with my goals as an artist. It's capturing I guess the inner life of my subject and then it is giving them their idealized version of themselves.

I think that people get into trouble when they photograph something that they... that is not in their world. It's like when they say "write what you know."