I thought about how to film something, how to take pictures of it and how to mix it all together. And I was getting that through Patti [Smith] - because she takes pictures, performs, writes; she does so many things, and that was a big inspiration to me. It helped me realized that I'm not just a fashion photographer. I wanted to do all these other artistic things as well, and during filming my mind opened up to those possibilities.

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

I just wanted to be Patti's [Smith] messenger and get her word out there.

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.

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.

For me, moving from photography to film was very easy.

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.