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.

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.

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.

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.

A great photograph needs no explanation; it functions by suggestion. There is no need to be explicit.

Nowadays shots are created in post-production, on computers. It's not really photography.

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.