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

I think my pictures are really about a kind of tension between my need to make a perfect picture and the impossibility of doing so. Something always fails, there's always a problem, and photography fails in a certain sense... This is what drives you to the next picture.

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 was really fixated when I was a child. Again my mother was just talking to me about this, about how I would how try to get details exactly right. I guess I was always very persistent.

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'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 never know what to call the subjects in my pictures because I'm uncomfortable with the word actor. I think maybe subjects might be more accurate - or maybe even more accurate is objects.