I have to say, I'm not someone who's really big into my family history - never really was very curious about it. The only thing I know about it is what I picked up from my aunts and parents.

I am always producing work, but there is always a sort of deadline where you have to finish work. I don't do it for a show. In other words, I am not like a fashion designer where I have a, you know - I have to put out the full line or I have to put out the summer line like that.

I just try things and whether people like it or if I find it successful or not, I just do it.

The first place I try to go when I have free time is the museums. I'm a big museum person.

But if I did read, say, [Maurice] Merleau-Ponty, for instance, it always seemed to me that the parts that I understood in what he was talking about - and I read him because - well, he wrote a book, well, the Phenomenology of Perception [New York: Humanities Press, 1962]. And it seemed to me that perception had a lot do with how we take in art.

People ask me why I use words and the reason, of course, is that words talk to you. I mean, they're something that are generated inside of you and that you can relate to you.

I was a filmmaker. I made movies. I made films. And I always took photos and made films, always from the beginning.