I like photographing dresses in windows. I actually wore a lot of dresses in the '70s. I like them on other people now.
I don't feel that censorship keeps me from doing the work, though. I'm my bigger censor.
When you do controversial work, you're going to upset a certain amount of people.
America is run by corporations, it is run by banks and Wall Street. That's why we can't get guns under control. It's because all these lobbyists don't want gun control, they don't want us to have strong environmental safety guards. Young people can become aware of that and they are the most powerful lobby. With a click of a text, you can have millions of people voting for one person.
In the period where I had to live the life of a citizen - a life where, like everybody else, I did tons of laundry and cleaned toilet bowls, changed hundreds of diapers and nursed children - I learned a lot.
I worked for Hillary [Clinton] when I was young - when she was running for the Senate. I was fundraising and things, I see all of these people as political in a way that isn't humanistic. I'm just watching and hoping that someone is going to distinguish himself or herself as comprehending what we need.
I don't think the area of Jerusalem should be part of a Jewish state; it belongs to all people, to Christians and Muslims and the Jewish people.
I watch a lot of crime shows. The head investigator always said to the crime solver, "What do you say?" And inevitably the other has to say something like, "Well I'm thinking he was shot in the neck with a certain gun and he seemed to be running." The solver has to picture what he's seeing first, and then express his own observations. The writer does the same.
Arthur Conan Doyle had to be Sherlock Holmes in order to envision how Sherlock Holmes would unravel a mystery. He had to be in Sherlock's situations. As a writer, you have to be of two minds.
Horses pretty much broke as a record in England.
We're a culture more than ever that wants proof of everything, we want things fast, and someone sends you an email, you want to answer in five minutes. We have to allow ourselves nothingness, in our relationships too.
Trust is everything between two artists, or between subject and artist. You have to have trust or nothing good will come out of it.
Steven's [Sebring] presence was not threatening; he told me that if I never wanted the footage to be seen by anyone, he would give it to me. So I had nothing to lose and everything to gain, and what I gained was his supportive energy and the supportive energy of his wife, who was sometimes the one schlepping the equipment or doing the sound.
I actually had another motivation for letting Steven [Sebring] film us. After I'd been out of the public eye for 16 years, lost my friends and lost my husband, some of my confidence had been undermined. Steven made the process of filming fun; I could pretend that we were in something like Don't Look Back.
If someone didn't want to be filmed, or my children said, "Don't film me anymore," [Steven Sebring] didn't try to sneak a shot or cajole them; he just respected their wishes.
[Steven Sebring] presence was also nice for my children, who, having just lost their father, quite naturally craved warm male attention. They gravitated to him right away.
Steven [Sebring] just fell in with my family life. He helped me wash the dishes and play with the kids. I could tell that he was a person who understood families.
I had met Michael Stipe, and he was such a kind person, and extremely understanding, so I asked him if he knew a photographer who would come to Detroit, where I lived, who would be child friendly and who would respect my home. Michael suggested Steven [ Sebring]. One day a knock came at my door, and when I opened it, there was Steven. He's been like a brother ever since.
People called me the godmother of punk, but I never name myself anything.
If your label won't let you have the cover you want or sing the songs you want, then leave!
If I have any regrets, I could say that I'm sorry I wasn't a better writer or a better singer.
I am not really certain how original my contribution to music is as I am obviously an amateur.
I had a handful of records, but when I was 11 years old, I liked Puccini as much as Little Richard. They both made sense to me.
I'm not really a nostalgic person.
The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.
