It's amazing how if you turn up at a studio without an idea, a picture will take itself from momentum, and you quickly can lose control.

I like the drawings. And as a photography fan myself, I would look at Helmut Newton or Irving Penn and like to see the initial notes or drawings, to see where the ideas grew from. Also my sketches are key to my work because I came to realise early on that by doing drawings, I could formulate a plan of what I was thinking of - I could take control and direct the work.

I'll always remember Jean Paul Gaultier, who did a project based on Madonnas, remarking on the images, "Yours are much better." Gaultier is really smart, so it's good getting a compliment from him!

The work is never finished because women forever will be eternally mysterious to me - and I will always find that point where people are lost in thought, observed but lacking self-consciousness, the most beautiful.

Having a book is actually like a great master - helping to build a universe and unify work - especially in my pictures where there is such a strong signature, yet with a set of rigorous rules to it.

I did a series of dark, desperate women shoots, my exhibitions weren't being well received, and then 9/11 happened, and I said to myself, "Have I gone too far?" Now I look back and realize going out on a complete limb at the time was right - well, people seem to be really responding to my message now, anyhow!

I suppose I like to set myself projects that are tight, focused, and then challenge myself with how broad I can go within that limited aspect. I think to Helmut Newton and film director, Federico Fellini - the added level of eroticism, the arousing message - and how it was possible for them to keep their signatures over so many years.