I believe that you've got to love your work so much that it is all you want to do.

When I was a boy, my family took great care with our snapshots. We really planned them. We made compositions. We posed in front of expensive cars, homes, that werent ours. We borrowed dogs. Almost every family picture taken of us when I was young had a different borrowed dog in it.

Marilyn Monroe gave more to the still camera than any actress, any woman I've ever photographed; infinitely more patient, more demanding of herself and more comfortable in front of the camera than away from it.

When you pose for a photograph, it's behind a smile that isn't yours. You are angry and hungry and alive. What I value in you is that intensity. I want to make portraits as intense as people.

For hours she danced and sang and flirted and did this thing that's-she did Marilyn Monroe. And then there was the inevitable drop. And when the night was over and the white wine was over and the dancing was over, she sat in the corner like a child, with everything gone. I saw her sitting quietly without expression on her face, and I walked towards her but I wouldn't photograph her without her knowledge of it. And as I came with the camera, I saw that she was not saying no.

I've photographed just about everyone in the world. But what I hope to do is photograph people of accomplishment, not celebrity, and help define the difference once again.

If I could do what I want with my eyes alone, I would be happy.