Television is becoming a collage - there are so many channels that you move through them making a collage yourself. In that sense, everyone sees something a bit different.

Of course you can still paint landscape - it's not been worn out.

I'm not really looking for theater work. But if somebody approaches me with enthusiasm, I might respond.

Picasso is still influencing me. Of course, I haven't got that kind of energy, or skill.

Who's going to ask a painter to see a diploma? They'd say, 'Can I see your paintings?', wouldn't they?

You can't name the inventor of the camera. The 19th-century invention was chemical: the fixative.

I'm a bit claustrophobic, I don't like crowds, I live by the sea - that's what I see when I come out of my house in Bridlington.

I avoid the public because the English public is too aggressive these days for me.

But the moment you use an ordinary camera, you are not seeing the picture, remember, meaning, you had to remember what you've taken. Now you could see it of course, with a digital thing, but remember in 1982 you couldn't.

I see the iPad as a wonderful new drawing medium, but I am at a loss as to how to make it pay.

People tell me they open my e-mails first, because they aren't demands and you don't need to reply. They're simply for pleasure.

West Yorkshire is quite dramatic and beautiful, the crags and things.

On the iPhone I tended to draw with my thumb. Whereas the moment I got to the iPad, I found myself using every finger.

I'm fed up with being bossed around.

I've realized that I can do performances.

When you are older, you realise that everything else is just nothing compared to painting and drawing.

You had to be aware that I saw that photography was a mere episode in the history of the optical projection and when the chemicals ended, meaning the picture was fixed by chemicals, we were in a new era.

I can often tell when drawings are done from photographs, because you can tell what they miss out, what the camera misses out: usually weight and volume - there's a flatness to them.

Anyway I feel myself a bit on the edge on the art world, but I don't mind, I'm just pursuing my work in a very excited way. And there isn't really a mainstream anymore, is there?

Tobacco is America's greatest gift to the world!

I think I am seeing more clearly now than ever.

I generally only paint people I know, I'm not a flatterer really.

Spring is very energising to me.

The moment I got a very big studio, everything took off.

I think my father would have liked to have been an artist, actually. But I think he didn't quite have perhaps the drive or, I don't know, I mean he had a family to bring up I suppose.

I grew up in austerity in the 1940s and 1950s.

Like people, trees are all individuals.

I made a photograph of a garden in Kyoto, the Zen garden, which is a rectangle. But a photograph taken from any one point will not show, well it shows a rectangle, but not with ninety degree angles.

I live wherever I happen to be.

I don't value prizes of any sort.

All film directors, even the ones using 3-D today, want you to look at what they chose.

I go and see anything that's visually new, any technology that's about picture-making. The technology won't make the pictures different, but someone using it will.

My only worry is the painting I'm doing. Nothing else.

I think the Enlightenment is leading us into a dark hole, really.

But slowly I began to use cameras and then think about what it was that was going on. It took me a long time, I mean I actually played with cameras and photography for about 20 years.

Yes, I did, I mean I painted er, in a kind of abstract expressionist way, because of course that was exciting.

I'm a bit claustrophobic, I know that now.

But, I would always be thinking of how pictures are constructed and colour, how to use it, I mean you're using it for constructing, makes you think about it, the place did as well.

In fact, most artists want to make things a bit more difficult for themselves as they go along, to challenge themselves.

I think cubism has not fully been developed. It is treated like a style, pigeonholed and that's it.

I'm a natural sceptic.

I was 18 when I first visited London, I'm very provincial like that, but I must confess the moment I got to America I thought: This is the place. It was more open, with 24-hour cities and pubs and restaurants that didn't close.

I've always felt very English.

As for the world of fashion and celebrity, I have the usual interest in the human comedy, but the problems of depiction absorb me more.

I went to art school actually when I was sixteen years old.

I value my friends.

Tragedy is a literary concept.

East Yorkshire, to the uninitiated, just looks like a lot of little hills. But it does have these marvelous valleys that were caused by glaciers, not rivers. So it is unusual.

I do do a lot of talking, because it saves me listening.

California is always in my mind.