Where does the inspiration for such risk moments come from?
It comes from everywhere. My house is literally groaning… it’s weighed down with photography books. It’s my worst, most awful vice: I buy books of photography. I adore photography more than anything—apart from music. And I find in it a huge source of help in getting to think visually about a film. I always try to create a scrapbook that becomes a sort of Bible of the film that people can refer to and contribute to. It’s not an exclusive thing. It’s not like me saying, “This is how it has to be.” I particularly ask heads of departments—the designer and the cinematographer, etc.—to contribute ideas to it as well. What are some of your favorite fine art photographs? I am the proud possessor of a couple of Sebastião Salgado’s. I’ve spent a ridiculous amount of money on Sebastião Salgado prints. I love that work. I love [Henri] Cartier-Bresson. There’s a lot of modern stuff I like as well. You shot Sunshine in England, correct? It was shot in the East End of London—in a very similar way, ac
