A lot of people seem to think that art or photography is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings...it's really hard for me to do commercial work because people kind of want me to do a Nan Goldin. They don't understand that it's not about a style or a look or a setup. It's about emotional obsession and empathy.

Some people have become [in U.S] a lot more conservative but I can't really speak about that because I wasn't there. I feel compassion for their pain but it distresses me to see them all become more patriotic.

I start to paint my walls. And I'm heavily influenced by films.

I wasn't there [in U.S] when the city was bombed but it seems to have changed my friends.

She has that kind of baby face, a very young face. So I was interested in working with Kate [Moss].

The only time I went out was to go to bars at night and all the pictures were taken with a flash because there was no light at all. However now I'm very interested in light.

When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.