The suburban landscape is alien and strange and exotic. I photograph it out of longing and desire. My photographs are also about repression and internal angst.

My 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.

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.

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

It is really important to have an obsessive need to construct something, to understand something from your own experience.

I 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.

Since a photograph is frozen and mute, since there is no before and after, I don't want there to be a conscious awareness of any kind of literal narrative. And that's why I really try not to pump up motivation or plot or anything like that.