When I first moved from photography to filmmaking, I was worried about how big I had to become. I was one person, or maybe me and an assistant, and I had these small cameras, and maybe a flash.

I've been a documentary photographer for much longer than I have been a filmmaker.

You have these relationships with people that you care about, but I also try to stick to my job as filmmaker and be fair and truthful about what I saw and my experience of the people, hopefully informed by a deep understanding of them.

I've often used the extremes in my work to comment on the mainstream. I think that sometimes a subject that I'm working on, like popular culture, is so present all around us that they're hard to see. It's like: How do you see the air you breathe? How do you see how it affects you?

I focus on a lot of women's issues.

My photography is often a sociological look at American culture and it's been very well published in the UK.

I've long been interested in looking at the culture of consumerism and also was interested in this connection between the American dream and the house, and the house being kind of the ultimate expression of self and success.