I think you have to have a real point of view that's your own. You have to tell it your way. And, I think that it's a mistake to shoot for a specific magazine's point of view because it's never going to be as good. You have to shoot for yourself and photograph [ the way] you believe it.

Photograph the world as it is. Nothing's more interesting than reality.

Everyone asks me how I get my subjects to open up to me. There’s no formula to it. It’s just a matter of who you are and how you talk to people - of being yourself.

Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.

A good print is really essential. I want to take strong documentary photographs that are as good technically as any of the best technical photographs, and as creative as any of the best fine-art photographs. [...] I don't want to just be a photo essayist; I'm more interested in single images...ones that I feel are good enough to stand on their own.

I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.

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.