I didn't know a time when there wasn't a war because I spent all my time from the age of two or three to eight in a coal cellar really.
The reason I did fashion was it was the only way to get paid to do anything creative. You couldn't support yourself as an 'artist' - I hate that word. The only way you could be 'arty' was as a fashion photographer, because it still had a certain amount of integrity involved.
In '73 I photographed the cannibals in New Guinea. They treated me OK but they didn't make you feel relaxed... I managed to escape unscathed though, I'm pretty good at that.
Actors are hard to photograph because they never want to reveal who they are. You don't know if you're getting a character from a Chekhov play or a Polanski film. It depends what mood they're in.
All pictures are unnatural. All pictures are sad because they're about dead people. Paintings you don't think of in a special time or with a specific event. With photos I always think I'm looking at something dead.
I'm not mad about movies, there are too many people involved in the making of them, and they lack a definitive creative focus.
It is a sign of a dull nature to occupy oneself deeply in matters that concern the body; for instance, to be over much occupied about exercise, about eating and drinking, about easing oneself, about sexual intercourse.
All I could do at school was paint and draw and that was the only time I ever passed any exam. It was the only thing I ever got right at school.
My exploits are nothing now to the average person.
Botticelli would have made a very good fashion photographer. He did eight heads instead of seven heads in a body, which is fashion illustration.
Rockers are the nicest people to photograph. They have no inhibitions.
My friends are all megalomaniacs - from Damien Hirst to Jack Nicholson - all of them.
Kate Moss is the best thing since Jean Shrimpton, really.
The best advice I ever got was that knowledge is power and to keep reading.
In New York, everyone's desperate for success, desperate for money and desperate to be accepted, but in London they're more laid back about things like that.
I won't do advertising if they bring a layout and say, 'This is what we want to do,' because anybody can do that; it's not interesting. They've got digital and the computer; it's not taking pictures, it's not magic - it's a picture done by committee.
If something becomes old-fashioned, it was no good to start with. Think about it. Michelangelo is not old-fashioned.
Instead of putting someone in prison for being a hooligan, give him a choice. He may have beaten someone up and he's got eight years, but tell him you can do eight years inside or spend five years in the Army. Put him in the Parachute Regiment, they'd soon sort him out.
A positive attitude can really make dreams come true - it did for me.
It's not about composition. It's the way you feel about how your objects should relate to each other. I've got lots of African statues and things, and the cleaner arranges them like soldiers, which drives me mad. So I have to rearrange them, and I must drive her mad, because I'm doing anarchy and she's doing military manoeuvres.