Time is the great mystery anyway. And it's still the great mystery in the moving picture as well.

The moment you can learn to deal with homosexuality in art, it's quite an exciting moment, just as in a sense when people 'come out' it's quite an exciting moment. It means they become aware of their desires, and can deal with them in a remarkably honest way.

Always live in the ugliest house on the street - then you don't have to look at it.

Photography sees surfaces, it doesn't see space. We see space but the camera doesn't.

I've no doubt that those photographs i took will make people look at everything in a more interesting way - the little tear on one piece of paper, the shadow on another. But good painting has always done that - made you see things. And the most ordinary can be the most extraordinary.

Style is something you can use, and you can be like a magpie, just taking what you want. The idea of the rigid style seemed to me then something you needn't concern yourself with, it would trap you.

What the art historians had forgotten is that in Chinese, Japanese, Persian, and Indian art, they never painted shadows. Why did they paint shadows in European art? Shadows are because of optics. Optics need shadows and strong light. Strong light makes the deepest shadows. It took me a few years to realize fully that the art historians didn't grasp that. There are a lot of interesting new things, ideas, pictures.