you’re looking for and you have to have the freedom to get it. Not communicating well about these things can be disastrous, both for the film and the relationship. Hopefully, it becomes an unspoken thing after a while. That’s how you become really alive and light on your feet.
S K: With your background, your training and these locales that keep drawing you—can you talk about light and texture in the way you see things? There’s a luminous quality to your work that’s very particular. In those places you shoot, in Africa, for instance, there’s a particular light that doesn’t exist anywhere else. Is that part of what draws you subconsciously, perhaps? This is more a curious question more than anything since I’m obsessed with light and reflection and how those things can cause emotional resonance just on their own, doesn’t matter really what the image is. Is that