My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.

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 can't tell you how many reshoots I've done from, you know, famous photographers who really love just to shoot models and failed at shooting a Patti Labelle or someone like that because Patti Labelle didn't turn them on, so you have to shoot what you care about.

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.

So sometimes it is an outright manipulation like that, but most of the time I'm just, I'm creating a mood that is a place of comfort for the person and a way for our dialogue to be more fluid.

You know I don't care if it's you know an intern or a full-time employee. I want to help them arrive at who they are or who they want to be in the world and that is one of the questions I ask them when I meet them. You know, who do they want to be.

When people warn me about someone - the label head or the publishing head - that somebody is difficult, I'm in heaven.