The thing that a lot of people may or may not know is every artist is a cinephile, whether they watch movies whether they're painting, or have films that influence them.

I think the big news there - most post-menopausal women I know are not celibate.

The thing I wondered about so much as a young artist, particularly when things weren't going well and I was really struggling, was, "Will I know when to give up? Will I know when I've suffered enough rejection? Will I know when to get out?"

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

I think making features has got to be in the addiction category.

I realized early on that artifice attracted me to an image more than any other quality - I mean artifice in the sense of staging and heightened color and exaggerated lighting, not a surreal or fictive moment... I think the lighting and feeling of Cinemascope, the movies I saw as a kid, always stayed with me as a kind of glorious vision of reality.

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.