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].

Because the filming process was so organic and there was no script, the film [Dream of Life] was literally telling us what it wanted to be in the editing room.

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.

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 never went to film school, so I just sort of learned on my own.

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.