When I first did the book on gasoline stations, people would look at it and say, Are you kidding or what? Why are you doing this? In a sense, that's what I was after: I was after the head-scratching.

I was attracted to the concept of Hollywood and the lifestyle here. But I've grown to mistrust it because it has changed. I didn't bargain for digital access parking in some concrete structure. Real heaven for me was to drive somewhere and park right in front. Now the city is going vertical.

I never expected to sell my art. It wasn't like today where you come out of art school and they promise you a future. Now it's almost regulated in a way. When we came out of school, we just wanted to make art that'd blow your hair back and do it for sport. There was no commercial possibility that we saw.

I travel a lot, but I don't come away with new inspiration.

There was no hope for any kind of big opportunity. I'm not saying it was hopeless. The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.

When I first did the book on gasoline stations, people would look at it and say, Are you kidding or what? Why are you doing this? In a sense, that's what I was after: I was after the head-scratching.

Yes, there's a certain power to a photograph. The camera has a way of disorienting a person, if it wants to and, for me, when it disorients, it's got real value.