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.

For all the talk of my pictures being narratives or that they're about storytelling, there's really very little actually happening in the pictures. One of the few things I always tell people in my pictures is that I want less - give me something less.

Originally, one of the reasons I was drawn to photography, as opposed to painting or sculpture or installation, is that of all the arts it is the most democratic, in so far as it's instantly readable and accessible to our culture. Photography is how we move information back and forth.

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 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 have always been fascinated by the poetic condition of twilight. By its transformative quality. Its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work within that circumstance. It is that sense of in-between-ness that interests me.