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It seemed that rebellion must have an unassailable base, something guarded not merely from attack, but from the fear of it: such a base as we had in the Red Sea Parts, the desert, or in the minds of the men we converted to our creed.

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.

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