"Yet, for all his much-vaunted preservation of his privacy, he has always been noticeably willing to wile away an afternoon or so with journalists, spilling out well-honed anecdotes about himself - but these, of course, help maintain the mask. There is a particular story of which he seems especially fond, having trotted it out virtually word for word in almost every interview he has given during his 40-year career: "When I was a child in Germany," he merrily begins, "my parents gave me six bicycles - six bicycles, because I was a very spoilt child, hein? - and none of the other children had any because it was after the war, you know? But I wouldn't share, no, no, no. But I would instead come to school every day on a different bicycle and the other children would be very jealous." Even the various assistants, administrators and acolytes who flutter around him are so well trained in the importance of this anecdote that I am told it within minutes of my arrival, before they nervously usher me in to meet the man himself: "You know, when Karl was young, his parents gave him six bicycles ...""

"My job as a portrait photographer is to seduce, amuse and entertain."

"The prolific, widely imitated fashion photographer whose provocative, erotically charged black-and-white photos were a mainstay of Vogue and other publications, died in a car crash in Hollywood, after taking the wheel of his car from his winter abode, Chateau Marmont, driving into a wall."

"I like photographing the people I love, the people I admire, the famous, and especially the infamous. My last infamous subject was the extreme right wing French politician Jean-Marie Le Pen. Even when I am not in sympathy with the person, I have to be in love with him or her while I'm doing their portrait. Le Pen adored me (at least until his photo ran alongside Hitler's in Le Monde), and we got on extremely well."

"Since the commercialization and banality of editorial magazine pages have made this work uninteresting, advertising has become an increasingly important part of my work. It is interesting to compare European and American mores in regard to my work. One will notice that most of my European images have a stronger sexual content that those destined for American publication. The term "political correctness" has always appalled me, reminding me of Orwell's "Thought Police" and fascist regimes."

"Growing up, I was surrounded by Nazi imagery, like everybody in Germany, and for a boy obsessed with photography it left an indelible impression on me. Later this influence was tempered by Brassaï and Dr. Erich Salomon. My love of photography at night started with m early experience of … the Berlin undergrund stations. Even today I love photographing by the light of street lamps or in the glare of my flash."

"What I find interesting is working in a society with certain taboos — and fashion photography is about that kind of society. To have taboos, then to get around them — that is interesting."

"This film was pivotal in my life, not so much because it was my first successful effort as a producer and director, but because Hitler was so fascinated by this film that he insisted I make a documentary about the Party rally in Nuremberg. The result was Triumph of the Will."