When you're getting ready, you finally reach a point where your clothes are right and your hair and makeup are right, and you're not comparing yourself to anyone. It's a really great moment. Then you get to the party and it's like, "Oh my god, I'm wearing the wrong thing! I'm garish!" or "I'm underdressed!"

My father was a dentist. And my mother was a - do we still say "housewife"? A home engineer.

I've always gone for a kind of perfection. In the end, it's so much better to get the feeling of, "Wow, she's so perfect," from a doll than to have to bear that from a woman in a magazine.

...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.

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.

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.

I was aware that people thought a certain type of photo work was either stealing, borrowing, copying or dumb.