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.

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

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.

Fashion has also been a great outlet, and I'd like to do more fashion photography in the future. I also photograph a lot of artists.

I shot [Dream of Life] all on 16-millimeter, and I just wanted to learn about 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.

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.