I've had failures, don't get me wrong, but it wasn't beneath me to pick up the phone and introduce myself to Bernard Malamud and say, "I'd like to introduce myself to you and to come meet you. I think I might have something that's worthy of your skills as a writer."

I don't feel lonely. No no no. I feel like I'm jumping in a well that has no bottom, and at some point I know I'll hit bottom. I never put a time limit on it. I'm oblivious to anything except that which I'm doing.

The most important thing you learn as a sports photographer is anticipation - not where the action is taking place, but where it’s going to take place. Not where the subject is now, but where they’re going to be.

I saw the end of the general magazine business at the end of the '70s, and I knew I had to move into another profession when the advertising dollar moved from magazines to television. The magazine business as we knew it was over. We were no longer the educators of the world.

I've had failures, don't get me wrong, but it wasn't beneath me to pick up the phone and introduce myself to Bernard Malamud and say, "I'd like to introduce myself to you and to come meet you. I think I might have something that's worthy of your skills as a writer."

I knew Marilyn over a two-year period. I met her first on a movie called 'Let's Make Love.' I photographed her at that time on and off through the time of her death. I was 22 years old and she was 34 or 35.

I never considered myself a good photographer. I still don't. I thought of myself as a hard worker. My camera was a sponge and I had an instinct that athletes have - anticipation. Photography really represents an enormous amount of anticipation - understanding what might be there the next moment and being prepared for it.