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Ford made some of the most progressive pictures.

I was pleased that two very disparate photographs, two images that each worked in their own way had appealed enough to other people for them to buy them. I was also relieved they weren't the last ones purchased, and that they sold for a pound more than the frame was worth.

I don't like gimmicky pictures; I've always hated them. I like pictures that are very clear and clean, whether you're a great street photographer - somebody like Friedlander or Winogrand or Cartier-Bresson - or whether you're a portraitist, like Irving Penn.

Every snapshot collector has obsessions. Some only collect photos of cars. Others like World War II, or babies, or old-timey girls in old-timey swimsuits. I happen to collect the weird stuff: photos that make the hair on the back of your neck stand up a little. The uncanny.

I began to realise that film sees the world differently than the human eye, and that sometimes those differences can make a photograph more powerful than what you actually observed.

I always take hundreds and hundreds of pictures. I used to work for 'National Geographic,' and they gave us a lot of film.

30 years and 55 pictures - not more than five that were any good, or any good for me.

They weren't great pictures, but they were fun, and they really represented that period of time well.

It's hard not to think of Jack Ford when you're making a Western. Hard not to think of him when you're making any picture.