I was working in a family business-the fur business - and I hated it. I was reading the New York Times want ads, and I saw a photographer's assistant job in Vogue. Things went from there.

I was working in a family business-the fur business - and I hated it. I was reading the New York Times want ads, and I saw a photographer's assistant job in Vogue. Things went from there.

I took Alexey Brodovitch course at the New School. He taught me something that I've always remembered: After we did the initial assignment, he contradicted what he had said the first week, and I said, "Okay." The next week, he contradicted what he had said the second week. We went through 10 weeks of contradicting, and I thought maybe he was drunk. At the end, he said, "You may think I've contradicted myself, but there's no one way to do anything."

Alexander Liberman was very smart, very elegant. At the end, he didn't have much patience with me because I was a young, anxious, nervous photographer. I worried that I was copying too many other people. And he said, "It's all right to copy people, as long as the people you copy are good and you copy them well."

If you go to shows today, you have 16 celebrities sitting there, all these people who have nothing to do with fashion.

Americans have a certain idea of what films are and the French have a much deeper sense of cinema. The cinémathèque is like a temple for them. And the people who write about it are really intellectuals. It's just a sensibility that they appreciate it.