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].

[Some] times I'd have sound but no image. When Patti [Smith] was singing with her guitar, or doing something amazing with her clarinet, I'd just mess around and record the sound. So we'd use those sounds as another layer in the film [Dream of Life].

I would bring Patti [Smith ] in to the editing room [working on the Dream of Life] and say, "This is a great moment for a voiceover, or a poem," and then we'd bring in some sound design.

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.

We had a hodgepodge of footage. We didn't film [in Dream of Life ]all the time - we would just film periodically, so nothing was synced and nothing was slated.

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