I came to New York as a saxophone player and was interested in the jazz scene. But the jazz scene was pretty thin. The musicians I admired could barely get gigs and were struggling to make ends meet. I was shocked actually because they were heroes of mine and I thought of them as stars. But what was happening around that time and was very alive; it was a scene that bubbled out of the punk movement. Everything was wild and irreverent. I had come from London when things like the Sex Pistols were happening but found it kind of silly—not the Sex Pistols, but the attitude, the nihilism and the spitting. Everyone was doing things they didn’t know how to do. And through Eric Mitchell, I started making Super 8 movies. I almost had to hide the fact that I made sure to practice the saxophone every day because that was sneered at. And I most certainly did not think of anything in terms of a career at that time.