I think that, in a sense, there's something about photography in general that we could associate with memory, or the past, or childhood.

I think maybe the figures - that's a good word - the figures in my pictures are stand-ins for my own need to make a connection.

I'm very moved by the fact that people are drawn into the pictures and that they do bring their own history and their own interpretation to the photograph. I think that's why they work in a certain way.

It's about finding meaning through light. I'm always interested in tensions. A primary one is the collision between the familiar and the strange.

I was never conscious of filming except for when I was location scouting. In a way, that is the most important part of the entire process - and the most private. I'm so used to doing that alone. Unlike every other part, it's just me, alone, on location.It's very hard to describe what I'm looking for - something that feels both familiar and strange at the same time. It's not enough for it just to be strange or mysterious, it also has to feel very ordinary, very familiar, and very nondescript.

I really love that dynamic between beauty and sadness...theres always these moments of quiet alienation, the sense of disconnect, but also, these moments of possibility.

My pictures must first be beautiful, but that beauty is not enough. I strive to convey an underlying edge of anxiety, of isolation, of fear.