I daydream a lot - that's how I get my ideas. If I'm sitting in a café, I'm not on my phone because I want to hear my mind. I think that those periods of small solitude that we are really losing are so important.

You don't want to OD on improvisation.

I wasn't taking drugs or drinking. I was working and working and working. But I wasn't writing anything.

First of all, anybody who has lasted 30 and went through the 60's is really a survivor.

I was at one of the lowest points of my life when we started this film [Dream of Life], except, of course, that I had two great children. But the film is not documenting a decline; it's documenting a rise up - first baby steps and then big steps up. The worst that could have ever happened to me had already happened. And so the film is on the ascent. And I think that gives it a nice spirit.

I believe myself to be an artist. That was my calling, to do my work, and what's most important to me is to do the best work I possibly can. And that is what means the most, that is what will endure.

Light inspires me. I'm drawn to architecture, often graves, statues, trees - things usually that are quite still. I've been taking pictures continuously since 1995 until the end of Polaroid film. I'm taking very few pictures nowadays because I have very little film left, most of it expired.