Snaps of my kids, Fenton, Paloma and Sascha.

What motivates me now is that I'm still trying to get it right.

No, I didn't ask them. I never show anyone contact sheets.

No, two Italian producers came to see me up at Vogue studios. They asked me if I'd like to make a film, because of my bad Italian and their bad English, I thought they wanted me to direct a film. Then they started to ask me about the way I dressed, which I thought was rather peculiar and then they wanted me to play the part because it was Carlo Ponti's idea to make the movie of a London photographer and a year later Antonioni got involved, who I only met last month for the first time. The way they knew so much about me was through a friend of mine, Francis Wyndham, who I was doing a book with at the time. He wrote a 200 word synopsis on London photographers. I always wondered how they knew that I'd paid £8 for a propeller, since I'd hardly told anyone. The mystery was solved 10 years later when Francis told me that he'd written it. I think he thought I'd be angry, but I couldn't care less. The original casting was Terry Stamp, which would have been better since he was a Cockney. I thought Hemmings was a bit upper-class for the part.

I think everyone in history becomes a caricature and that if you can't laugh at yourself, there's something deeply wrong with you.

I think doctors are probably the biggest users of drugs, so your profession dictates to you what's most available. Fortunately, I wasn't a vet.

People think that people are difficult when they know what they want. I don't make a distinction between photographing men or women. I treat everyone the same.

Catherine Bailey, Baroness Blixen, Ava Gardner, Garbo, Georgia O'Keefe, Angelica Huston, Marisa Berenson. To have a dream you have to have a mystery, so I prefer dark-haired women to blondes. My mother looked like a gypsy.

So was acting.

I fall in love with everyone I photograph, whether they are men or women, when they're in front of the camera.

It's not now, for always, the definition of beauty is mystery. It's chasing that rainbow that hopefully you'll never find. Like the Mona Lisa.

I didn't think she drank Coca Cola. She was always much more charming to me than her husband.

Catherine Deneuve has a great sense of humour, which I always find attractive. It usually goes with intelligence. It was great.

I find women more erotic than men and women live more in their minds than men.

Locations (Archive Two), my new book out in October or November, covers my work in the Seventies, so please buy it and you tell me.

Hi Fenton, always remember: be true to yourself.

I think it's probably a lack of their knowledge of photography. We're still living in the residue of the 60s.

Emotion.

It's difficult photographing everyone.

There is only two types of images: good or bad. That applies to colour and black and white.

It's just another paintbrush.

Unfortunately, no. But I wish I was paid every time someone copied one of my pictures.

I think Avedon's great. It was one of the greatest compliments I've ever had. Up until then, I never knew he'd heard of me.

I thought Punk was great. It was a social statement, like the 60s. I think you have to take pictures in your own time and let the revolutionary bit happen if it does.

Because I was devastatingly attractive and I took it as a compliment.

Everything has become fashion.

Mr Penn will never die.

I like all photographers that are sincere about what they do.

I didn't think I did. He didn't turn up for his interview because his dog was sick, but he is truly a great fashion photographer.

Is he paying me for today? If so, great. If not so, great as well.

Yes, if you just do editorial.

I love Rankin. He's a man of enormous energy.

Jack Nicholson.

For me, people are obviously more interesting, or the residue of their achievements. I never quite see the point of pictures of trees and rocks and landscapes.

One can't compare people this great. The both did/do what they did/do.

The ones that come through the letterbox.

Vogue seems to be doing alright. About 80% of the editorial I do is for Conde Nast, anyway.

Easy. Andy said he'd only do it if I went to bed with him, so we did the interviews in bed. And I love playing chess.

Only when the photographer's quick.

Too much.

I feel dyslexia gave me a privilege. It pushed me into being totally visual.

I said that talented people make mistakes because they take more chances, people that are mediocre remain on the same level. I have had no lowest point. Everything that happens to you adds texture to your life.

All of them.

If I knew that, I'd achieve it and give up.

Outsiders are not limited to the class system. Most artists are outsiders, they're like gangsters. Gangsters dress better.

When you've been doing it as long as me you realise that fashion is like a yo-yo. I've been in and out of fashion numerous times, but like Frank Sinatra, you can always make a come-back.

I don't dislike them, I'm just not that interested in frocks. I spent five weeks with the cannibals in New Guinea: I didn't particularly like them either. If you do a fashion picture, you have a responsibility to show the dress, otehrwise it becomes a pointless document.

Ask the individual if he is willing to pull the trigger and live with that for the rest of his life.

I might be there as a photographer. Iraq I'd move to Texas.

I'd be happy for them to be anything that they want as long as they're happy and decent.

Some are and some aren't. Models are just people like everybody else.

No-one can teach you, it has to come from you.

All the questions have been quite good.

Both.

No.

The mysterious 'they' said my pictures weren't sexy enough.

Comfortable shoes.