The first half of the 20th century belongs to Picasso and the second half is about photography. They said digital would kill photography because everyone can do it but they said that about the box brownie in 1885 when it came out. It makes photography interesting because everyone thinks they can take a picture.
When I was on trips I used to put Polaroid’s in a container with sea water, sand and pebbles. I’d swirl it all around to get scratches. It’s this random element that I call ‘the drip’. It’s the drip which might splash onto the other side of the canvas when you’re working on a painting and make you think ‘that is good’, possibly leading you to explore other things. My whole life is spent in search of the drip; it can change everything.
They’re photographs of cocks and vaginas. They’re kind of medical, done absolutely close-up with no pretensions to lighting or anything. I just thought it’s something everybody’s got but you never see them in photographs. And, you’d be surprised at the personality of them; you can’t believe that every one is different.
For me, simplicity is the ultimate aim, combined with the perfect accident. All creativity is an accident. That's why I prefer film cameras. Digital takes away the accident. If you do that, you take away the creativity. All those pictures on digital cameras are all perfect. And they're perfectly boring!
I spend much more time talking than photographing. For me, talking is part of taking the picture. I'm always amazed when photographers come to my studio and photograph me and hardly say anything. All they say is, "Smile," and I say "No, if you want me to smile it's up to you to make me smile. I'm not a bloody actor."
I wouldn’t photograph anybody if they only give you five minutes. I don’t care who it is. I don’t care if God phoned me up and said, “I want a picture, I’ve only got five minutes.” I’d say, “Well, work some of your magic and make it longer!” Even though I’m actually quicker than most and I usually get bored before they get bored.