TR: Yeah. Keeping it real, that's what the kids say.

LC: You're one of few photographers who can marry art and commerce. You can bring a lot of sexuality to a brand like Sisley and it seems right.

TR: My best pictures are improvisational. It's all about casting, especially with Sisley. If the cast is wrong, the whole thing is fucked. If you get people who know what's going on, who are into it, then you just let them go, let them get into their characters.

LC: How much do you have to prod them?

TR: A little, but the casting is where I do the big grill session to see who's comfortable. A lot of people are exhibitionists once you get them going. I've had people fuck on set, and suck, and fuck some more. And guys fucking, girls fucking, guys and girls, penetration. Sometimes I'll cast a couple if I want them to do it, but strangers have done it, too. That's why casting is so important. I can't make magic with just anyone! But I'm not going to connect with everybody. I've walked off sets a couple of times. I said I was going out for coffee, then I'd leave.

TR: There's more freedom with magazines than advertising. But even European mags are worried about advertisers now. You can't work with a glossy and bring in all new girls. They want the big names. It makes it harder for new people to break in. Like I've always said, it's not who you know, it's who you blow. I don't have a hole in my jeans for nothing.

LC: How long have you been shooting the Sisley campaigns?

TR: About five years.

LC: What's the inspiration behind the fall campaign?

TR: It was the first time we went into the studio. We just wanted to do a shiny black thing. Next time we're going back on location, for atmosphere. I think we're going to shoot the next one in LA again.