The whole reason I make these pictures is for those moments of clarity. For that single moment, everything seems to make sense in my world. And I think we all look for that in our lives, because our lives are generally filled with chaos and confusion and disorder and complication.

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.

Making that final commitment is really hard. Because once you decide to move forward, it becomes a whole process which is really hard to stop.

The viewer is more likely to project their own narrative onto the picture.

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.

I'm not that particularly talented in terms of making anything or - I'm not technically efficient. I certainly don't know how to draw very well or paint, and I'm not good with computers. But I think the thing that I'm good at is willing something into life, no matter what. I do what it takes to get it done.

In "Twilight," the narratives are more literal, and the event is much more spectacular. The pictures in "Beneath the Roses" are much more psychological and grounded in reality.