I work in colour sometimes, but I guess the images I most connect to, historically speaking, are in black and white. I see more in black and white - I like the abstraction of it.
I just think it's important to be direct and honest with people about why you're photographing them and what you're doing. After all, you are taking some of their soul.
There are some people who become best friends with everyone they photograph. There are people that I really like and admire and respect, but in a way I think it's better to keep a distance. I think you get better pictures of people that you don't know very well.
I respect newspapers, but the reality is that magazine 'photojournalism' is finished. They want illustrations, Photoshopped pictures of movie stars.
Sometimes I work on film sets. I've done this for 40 years. I always wanted to photograph on the set of an Ingmar Bergman film. Unfortunately, I never had the opportunity.
I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
I really knew when I started photographing I wanted it to be a way of knowing different cultures, not just in other countries but in this country, too, and I knew I wanted to be a voyeur.
If I hadn't become a photographer, I would have loved to become a doctor. I would have loved to have done something that actually helped people and changed their lives.
When I started out, it was considered very wrong to change an image. There were scandals if someone inserted a sky into a war picture or something. Now it's all about that.