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Quote by Steven Sebring

“I shot [Dream of Life] all on 16-millimeter, and I just wanted to learn about Patti [Smith].”

Quote by Steven Sebring

Author

Steven Sebring is a renowned photographer known for his unique perspective and profound thematic works. His photographic career is characterized by exploration and experimentation, with his works spanning multiple genres including portrait, landscape, and documentary photography. Although his exact birth and death dates are unknown, his works have had a profound impact on the field of photography. more

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“We just grew to trust each other [with Patti Smith] more and more over the years. Most of the time I didn't even have a movie camera.”

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“We were just hanging out and getting to learn about each other. But I think trust was a really big thing. Patti [Smith] is a good friend, somebody I can talk to.”

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“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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“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.”

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“The only self-consciousness in the film [Dream of Life] is anyone's natural shyness.”

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“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.”

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“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.”

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“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.”

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“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.”

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