I learn to pity woes so like my own.
You are lucky if you have one or two epiphanies in your life, particularly a creative one.
The full weight and mystery of your art rests upon your relationship to your subject matter.
I like small things, I like small moments that are almost elliptical, that are not necessarily linear; they're natural things that happen in the world, but if you look at them from a slight angle there's more than meets the eye.
How do you find a way to say what an extraordinary experience it is to be alive in this world? That is the kind of subject matter I try to work with.
Making these photographs has often seemed to me like a kind of dance. Often I have danced badly and the world has fallen apart at my feet. But sometimes the dance has gone well and my subject and I have moved together as if with shared purpose.
I'm fond of implied narratives, oblique angles, and leaving a little room for the viewer to finish a picture.
You and I are standing this very second at the meeting place of two eternities: the vast past that has endured forever, and the future that is plunging on to the last syllable of recorded time. We can't possible live in either of those eternities - no, not even for a split second. But, by trying to do so, we can wreck both our bodies and our minds. So let's be content to live the only time we can possible live: from now until bedtime.
When people want to sound smart, they add syllables to words, words to sentences, sentences to paragraphs, paragraphs to books. They try to make up in quantity and complexity what they lack in quality. That's bullshit! They're just hiding their bullshit!
I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.
It's one of those things where the book has all these stars that burn really bright that you hang onto and they're all saying, 'This is The Girl on the Train experience. ' All those stars or hooks needed to be in the film, but sometimes they needed to be a bit different. It's important when adapting such a popular book to hit all those points but also break out expectations without slaughtering the book. And that was, for me, the joy of adapting the book.