Steven's [Sebring] presence was not threatening; he told me that if I never wanted the footage to be seen by anyone, he would give it to me. So I had nothing to lose and everything to gain, and what I gained was his supportive energy and the supportive energy of his wife, who was sometimes the one schlepping the equipment or doing the sound.

The artist seeks contact with his intuitive sense of the gods, but in order to create his work, he cannot stay in this seductive and incorporeal realm. He must return to the material world in order to do his work. It's the artist's responsibility to balance mystical communication and the labor of creation.

I had a really happy childhood - my siblings were great, my mother was very fanciful, and I loved to read. But there was always financial strife.

I find it painful when I'm without anything. But I work in multiple fields. If I can't write, I find myself taking photographs. I can go on the road and perform. But the most important thing for me is writing, and when I hit those walls, it's painful.

No, my work does not reflect my sexual preferences, it reflects the fact that I feel total freedom as an artist.

My mother had no end of tragedy in her life. She would make herself get up and take a deep breath and go out and do laundry. Hang up sheets.

The truth is, no matter how modest Steven [Sebring] is, he was obsessed with the outcome of the film [Dream of Life]. Every single frame was important to him.