I feel like I've finally got to this place that I really want to be. The place where, in my fantasy, the characters just get up and walk around - this interstitial place between humans and dolls. But I also feel like, where am I supposed to go from here? Because this feels like the place I've always wanted to be, for my whole life of shooting.

When I first came to New York, in the '70s, artists were certainly divided about the Andy Warhol persona, and about the work. I thought it was utterly cool - I thought the Factory was utterly glamorous - but there were a lot of artists I really admired and respected who were older that kind of dismissed it, couldn't get it, and felt that there was a lack of seriousness about it.

Any work that is really great hovers between terrific and terrible.

...Let's get to the image as quickly as possible, let's get to the message even faster, and let's find the scale to knock you over the head with the image and the message.

I think I'm still, in many ways, a terribly self-conscious person. I'd probably be shooting and think, "Well, how does my hair look?"

Here were also moments of, you know, you have an exhibition: no sale, no reviews. It's hard not to get blue, and I think the kids were very aware of those periods. So if there's anything they've picked up, it's a kind of resiliency. That seems like a pretty good legacy.

I'm very interested in stopping time. And starting time. There is that aspect of time that I'm playing with, that it's elusive and unnoticed yet really in the end the most important thing.