Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.

[Through the making of Dream of Life] I learned about being patient, perseverance, having a dream, a goal. I learned that I can accomplish something despite not knowing anything about it when I begin.

Angelo Corrao was our editor [in Dream of Life], and he was just so diligent and so old-school in the way he looked at editing. He would take my far-out ideas and tame them and make sense of them.

I think those moments in Patti's [Smith] bedroom really helped the film [Dream of Life] out, and those moments existed because of the trust between us. There isn't any real self-consciousness in the film because we all like each other.

The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.

I like not knowing too much about somebody I'm photographing, because the process also becomes an experience for me to learn about .

I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.