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.

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.

Usually 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.

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

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.

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.

What the artist attempts to do is to try and tell a story. Attempting to give physical expression to a story that's internal.