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.
Gregory CrewdsonI do think that dread is about a certain kind of expectation. And the fact that a picture can never resolve itself the way a movie can - maybe that's a specific kind of dread that becomes associated with a picture.
Gregory CrewdsonIām interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear or desire
Gregory CrewdsonMy father was a psycho-analyst and I think that fact was very influential on my development as an artist. Trying to search beneath the surface of things for an unexpected sense of mystery.
Gregory CrewdsonI 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.
Gregory CrewdsonUsually I'll drive to certain locations over and over again, over a course of months really. And then it might just be I hit it at the right time, and the right light. And then I might go to that location over and over again, and then what happens in that lag time where - the image sort of locks in - all of a sudden I see it in my mind's eye.
Gregory Crewdson