Trust is everything between two artists, or between subject and artist. You have to have trust or nothing good will come out of it.

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.

In 1974, when I started working with the material that became Horses, a lot of our great voices had died. We'd lost Jimi Hendrix and Jim Morrison and Janis Joplin, and people like Robert Kennedy, Martin Luther King and Malcolm X.

I was so horny in school it felt like my body was filled with electricity. I felt like I had neon bones or something.

My parents were very well read. They were both New Englanders, not highly educated, but they had a sophisticated... they were both very humanistic, and they were sophisticated readers.

There's nothing cool about being self-destructive.

I was always trying to pick guys up. I'd ask guys out and stuff like that. I had no pride. I was the biggest lurch at dances, waiting for the ladies' choice. I'd lunge at my prey like a baby wolf.