All my artistic response comes from American things, and I guess I've always had a weakness for heroic imagery.

My pictures are not that interesting, nor the subject matter. They are simply a collection of facts; my book is more like a collection of Ready-mades.

I'm very stodgy. I'm always looking at old photos of California and Los Angeles, knowing that what I'm looking at is now full of houses. There used to be vacant lots in Los Angeles, now all taken up by three-storey boxes - it's all getting infilled.

I have no social agenda with my work. I'm deadpan about it.

The subject [of Los Angeles] became a general metaphor for anxiety and the speed of modern life.

I think the most interesting stuff comes from people who've just got nothing to lose. You know, let's kamikaze this thing - just throw themselves in it, devil may care.

There's so much going on today. I continually hear, sometimes from artists, that everything's done. It's been done. I fail to see that.