I didn't like hovering above myself and looking back, or going through a door and thinking, How many times did I just go through that door? How do I get back? You know, that's not for me.

I wish I had met [Francesca] Woodman forty years ago. It would have been great to live with her for a year. She didn't save anything. She played the camera like a new guitar. She murdered herself out taking pictures.

I didn't like hovering above myself and looking back, or going through a door and thinking, How many times did I just go through that door? How do I get back? You know, that's not for me.

I got a job in the tear-sheets department, ripping up magazines like People, Fortune, Sports Illustrated, and Time, and delivering the editorial pages.... So I began to use a camera to make fake photographs of the ads. By re-photographing a magazine page and then developing the film in a cheap lab, the photos came out very strange.

A lot of it's experimental, spontaneous. It's about knocking about in the studio and bumping into things.

I never had a penny to my name, so I changed my name.

I think with success you do get a little more guarded and you start to change your friends. You become more isolated. And you start hanging around with people who have money! I think that's the biggest thing. Once you do get a bit of change in your pocket, you start hanging around with other people who have some change. It was kind of strange to all of a sudden go from one extreme-Manhattan-to where I went, upstate New York. But I did it because I was dying in the city. I couldn't take it. I couldn't take one more dinner party. I couldn't take one more party, period.