I go into every story thinking I'm going to fail. I think about that all the time - I think it's going to be terrible. Every story is like the first I've ever done.

No, I don't think you're ever an objective observer. By making a frame you're being selective, then you edit the pictures you want published and you're being selective again. You develop a point of view that you want to express. You try to go into a situation with an open mind, but then you form an opinion, and you express it in your photographs.

When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.

I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.

I’m trying to please myself; certainly that’s a big criterion... though in a sense, I don’t take images just for myself. I take images that I think other people will want to see. I don’t take pictures to put in a box and hide them. I want as many people to see them as possible.

I go into every story thinking I'm going to fail. I think about that all the time - I think it's going to be terrible. Every story is like the first I've ever done.

I don't think you can develop or learn a way of seeing or a point of view. A way of seeing is who you are, how you think and how you create images. It is something that is inside of you. It's how you look at the world.