You can watch a little bit of war from your nice living room - 30 seconds of what's going on in Syria - and when you've had enough, switch over to some celebrity programme. We live our life through screens and images in this way, and we don't know what is real or fake anymore. It doesn't matter.
When Princess Diana died, I couldn't understand why people were mourning her death in such an enormous, hysterical way when they didn't actually know her for real.
If you see everything through the lens, you are constantly composing pictures. I think in pictures; I don't think in text.
Art work is inconclusive. It opens your mind up. At least, that's what I hope it does. And advertising, using exactly the same photograph, closes things down. It makes it conclusive. It sells a product, and that is its primary function.
The religious imagery and fairytales that formed our shared cultural references have been replaced by the cult of celebrity. Marilyn is the sex goddess, Camilla Parker Bowles is cast as the wicked witch, Che Guevara is the revolutionary. Celebrities have become visual shorthand for narratives that shape our lives.
I can't remember exactly how old I was when my parents gave me my first camera, but it was a Canon, and I was certainly far too young to have such a good camera.
I'd like to take more pictures of real celebrities. It would be fabulous to photograph Brad Pitt. He's so good-looking and just such a star.
I'm not really interested in the celebrity themselves. I'm interested in the perception of the celebrity.
It's always fun to put fake celebrities in unlikely situations, but somehow it's even more fun when politicians are involved.
Photography acts as a teaser, suggesting we can know something that we can never know. And the more we can't obtain it, the more we want it.
Photography seduces us into thinking we can believe photographs, whereas we can't really believe that a picture can tell us any kind of truth at all.