That was an amazing experience [making Dream of Life]. It's hard to imagine that we were editing every day for a year. And it was pretty extraordinary; it also went by super fast. But every day was an experiment.

I remember when we were at Sundance, we were in Robert Redford's screening room, and I had never seen the film look so beautiful or sound so great. It was really big and really powerful, and I had a sense of accomplishment in finishing a project like this.

I didn't do well in high school, but I took photography, and I loved being able to capture moments.

For me to see the film [Dream of Life] on a big screen - it's pretty extraordinary.

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

Many of my family members are teachers in the arts, and I picked up the camera years ago, in high school.

Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.