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.
I wasn't familiar with Patti [Smith ]much at all. When I was asked to photograph her, my wife said, "Oh my God, Patti Smith!" So I looked at some Robert Mapplethorpe books and I recognized those pictures.
It took 12 years to put this film [Dream of Life] together, but it was not until toward the end of those 12 years that I looked at Patti [Smith] and said, "Maybe we should do something with this footage."
At the beginning I didn't even really think about making a movie [Dream of Life]. I was just thinking of documenting somebody.
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].
When I started photographing Patti [Smith], I knew that there wasn't a whole a lot of information out there about her. I was periodically interested in films, and so I just kept asking her if I could come around.
I do remember, the first time we met [with Patti Smith], the door opening with a squeak. And then there was this very beautiful girl looking out.
I quickly realized that Patti [Smith] was somebody very special.
I like not knowing too much about somebody I'm photographing, because the process also becomes an experience for me to learn about .
Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.
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.
[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.
A lot of times I had footage that didn't have sound [in the Dream of Life film] - either I didn't bring a sound recorder, or I forgot to turn on the sound recorder - so we would have to improvise and build those scenes.
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.
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.
The film [Dream of Life] came together when we started editing; it was organic, it became nonlinear and it was its own animal. And I didn't want to tame it, either. I wanted it to be different. It's not your typical documentary.
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.
The only self-consciousness in the film [Dream of Life] is anyone's natural shyness.
When I went to Detroit, I was very naïve, actually, and I think Patti [Smith] picked up on that quite quickly.
"I just wanted to be Patti's [Smith] messenger and get her word out there."
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