“I took this photo of Penelope Cruz at the Cannes Film Festival. I think the thing I love about this picture was it was like the only frame I took in anything like this style and she’s walking and it’s a corridor in a hotel and, you know, corridors, they have lights every, you know, five yards or something, there’s another light. And it’s kinda just a total and utter fluke that the light is hitting her so beautifully. I say, it’s lucky. I do believe we make our luck, but there is times when you realize you were just blessed that you know, they’re walking along, and I honestly couldn’t have really known the timing and I didn’t stop her and I didn’t slow her down. And you could see she’s mid talking and she’s got a finger up cause she’s making a point and it totally stands alone from the rest of the set of pictures. And I suppose I believe it, and it feels deeply, deeply nostalgic, and it feels like a picture that could have been taken very, very long time ago. You know, it could be Sophia Loren. It could be any of the, sort of, real iconic actresses. And it is Penelope Cruz. So I was really happy with this one. It was shot on the Leica Q2, which has a fixed 28mm lens. I, very much, just kept her in the center of the frame and walked next to her and then, got the shot. And what I take from it is not to have too much of a preconceived notion of what picture you’re trying to take. I regard every shoot I do as a collaboration. It’s never just me saying, oh, I’m the auteur, you do what I want. It’s very much a collaboration. And ultimately, no matter how, I suppose, advanced you get in your career, your job is just to take the best picture in the situation that you can, right? And that picture is not always the one you went in there intending to take. So knowing when to allow happy accidents to happen or being, rather being free enough in your brain to allow these happy accidents to happen is incredibly important.”