It's hard for me to approach [a film] as a still image now that I know exactly what it takes to make a movie. I mean, I know what it takes to make a movie that lasts five minutes.

The eyes sparked a lot of things for me, it could be somebody remembering something they had witnessed or heard about, or it could be the person in the photograph that was experiencing a tragedy or it could also be the spectator looking on from a safe distance.

I always work with the same composer, his name is Ali Helnwein. I don't have a musical background.

I lived in London for small amounts of time, and in Florida and New York.

I think that's one of the reasons it's nice to leave out a lot it can become a lot more personal to people if there is room for them to put their own experiential time track on it.

When I'm shooting in other cities, I'm just trying to make it look like California.

I can't even imagine what it is like to make a movie that lasts two hours.

With photography, I like to leave a lot of the story, even to myself.

I never plan anything in an analytical way before I shoot, but when I look back there seems to be kind of a primary color palette.

I never thought about the green, but LA has a lot of greenery.

I think the worst reaction that I could get from someone to my photos is some sort of mediocre, middle-range reaction where they really get nothing from it, and they want to move on to the next thing. [I'd rather they be] horrified, pissed off at me, extremely disgusted at how bad of an artist I am.

It's always really scary to release new work.

I am looking for the disconnected connection