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 became Patti's [Smith] messenger, basically, and the film is my view of how I learned about Patti.

When I went to Detroit, I was very naïve, actually, and I think Patti [Smith] picked up on that quite quickly.

She let me in during her tour, in London. Her band members - especially Lenny Kaye - were shocked at the fact that I was filming Patti [Smith].

Sometimes my fashion pictures can look a little bit like documentary style pictures. So having a camera in my hand was normal.

There are a lot of layers in the film [Dream of Life]. And during editing we would try to tame all the layers, try to make things a little bit more understood. We would move scenes around. We'd try all these things.

I was making a film [Dream of Life] about Patti [Smith], but I was taking pictures, too.