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.

Patti [Smith] was my experiment, to be honest. And the film is what we got out of it. At the end of the day, I learned a lot about how to make a film.

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

I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.

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.

We were just hanging out and getting to learn about each other. But I think trust was a really big thing. Patti [Smith] is a good friend, somebody I can talk to.

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.