Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things.

I've been in wars and in riots and hung out of many helicopters in the early days. And there's a detachment that happens when you look through the camera. You're looking for the shot.

Well, of course the general idea was dreamed up by the advertising agency and so my job was to realize that. And we down to Lubbock, Texas, usually and onto a ranch and we would pick cowboys who looked the part and photograph them under dramatic situations - rounding up wild horses or running through streams and then reaching in and taking a drag on a cigarette.

I am part of a system which encourages people to buy things and do things which are not to their best interest.

When you hear the word tear gas you think, well, your eyes will burn and that's it. But that whole feeling of your whole skin burning, that you can't breathe, you can't inhale, you feel suffocated - it's a very, very terrifying experience.

I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue.

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.