Reality is always extraordinary.

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 think the prom is very serious also. It's an American ritual, it's a rite of passage, and it's very much a part of this country.

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'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.

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.

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.