I don't wear makeup. I can't stand nothin' on my face. It's a phobia. It's not a platform.

The way our big cities change sucks. The beauty of cities was that they were edgy, sometimes even a little dangerous. Artists, poets, and activists could come and unify and create different kinds of scenes. Not just fashion scenes, scenes that were politically active. Big cities are getting so high-end oriented, business corporate fashion, fashion not in an artistic sense but in a corporate sense. For me that edgy beauty of cities is lost, wherever you go.

I love to photograph the tools of one's trade: Duncan Grant's paintbrushes, the typewriter of Herman Hesse, or even my own guitar, a 1957 Fender Duo-Sonic.

If someone didn't want to be filmed, or my children said, "Don't film me anymore," [Steven Sebring] didn't try to sneak a shot or cajole them; he just respected their wishes.

When we got to the part where we had to improvise an argument in a poetic language, I got cold feet. "I can't do this," I said. "I don't know what to say." "Say anything," he said. "You can't make a mistake when you improvise." "What if I mess it up? What if I screw up the rhythm?" "You can't," he said. "It's like drumming. If you miss a beat, you create another." In this simple exchange, Sam taught me the secret of improvisation, one that I have accessed my whole life.

I think really that's just the basic Christian lesson that sometimes takes us years and years to understand - have equal concern for another human being as you have for yourself or perhaps even more concern for another human being than you have for yourself.

I think some of that hopelessness of my generation got passed on to later generations - the sense of uselessness.