I develop my own film. And I work in spurts. I pile it up.

It's the easiest thing in the world to do that, to make successful photographs. It's a bore.

You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.

I think there's some stuff that's at least photographically interesting. There are things I back off from trying to talk about.

If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.

Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.

I have no idea what's going to happen. Who knows - if they can't afford to buy a boat, maybe they buy a print. Who knows what happens with their buck?