You can't work on that scale without trust. I learned that from working with Robert Mapplethorpe.

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 so involved in my boy-rhythms that I never came to grips with the fact that I was a girl. I was twelve years old when my mother took me inside and said, "You can't be outside wrestling without a T-shirt on." It was a trauma.

I’m not much a role model in terms of hair care, though.

When I was a kid, I loved Sherlock Holmes. I'm not interested in crimes. I'm interested in the mind of the detective and his process, which to me is a lot like the artist.

New York has closed itself off to the young and the struggling. But there are other cities. Detroit. Poughkeepsie. New York City has been taken away from you. So my advice is: Find a new city.

The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.