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.

My mother let me know that we're all connected. If some of us become more affluent it's not because we're better or even smarter people - we have a responsibility to ourselves to be a good boy.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

The idea of accountability in Vietnam, Nicaragua and now Iraq - the media never has that in its quiver. When you see time after time there is no possibility of Nuremberg [war crime trials], we're doomed to have it repeated.

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.

When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.

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.