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.

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

I'd say to anyone trying to break into the business: Don't just be interested in movies. Be interested in life. Be a person. Be in touch.

Well, there is a contradiction in a sense. If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system - I am part of a system which encourages people to buy things and do things which are not to their best interest. And to that extent you could say it was contradictory.

I don't know where you're reading all this stuff, but it's pretty accurate, yes. It was in 1942. I was on a ship called the Accelo(ph) coming back from the Red Sea and we were sunk off the coast of Africa by a German submarine. And I was in a lifeboat for 14 days and landed and lived with the Pondos in South Africa while - who took care of us and took care of me. I had some wound in my left leg.

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.