I feel every shot, every camera move, every frame, and the way you frame something and the choice of lens, I see all those things are really important on every shot.

I rarely draw what I see. I draw what I feel in my body.

There's nothing worse than an ostentatious shot. Or some lighting that draws attention to itself, and you might go, 'Oh, wow, that's spectacular.' Or that spectacular shot, a big crane move, or something.

People say I have a distorted lens. I think I see things as they really are.

I came up, I suppose, a fairly traditional way. I went to art college. I always wanted to be a stills photographer, really, when I was younger, and I briefly worked as a stills photographer.

Whenever I see a Frans Hals, I feel the desire to paint; but when I see a Rembrandt, I want to give it up.