I made this for @emhedditch in 2004 when we lived briefly in Liverpool together in a massive residential hotel; as far as we could tell we were the only ones who lived in the building. Every night we watched a TV show about the real lives of working models, young American girls in Japan. We made sandwiches with a fried egg in them and six or seven other layers; we loved our sandwiches. A flirtatious screenwriter from LA mailed me an original copy of The Godfather shooting script; Emma and I puzzled over it. I thought it was exciting (How Hollywood! What a move!) but I also knew the romance was doomed since, let's be honest, I had never even seen The Godfather and was anti-establishment. I was there for a residency at @fact_liverpool that was supposed to culminate in an exhibition. There was lots of fighting and stress among the staff and one of my pieces was a circle of pillows with all the employees names painted on them (with the idea that maybe they should try meditating in a circle; as if.) Emma and I made a movie with people we cast off the street, often shooting their scenes immediately after meeting them; I remember asking manicurists to paint lines on a piece of white paper to create binder paper, knowing they would be good at using the skinny paintbrushes we brought them. Everyone took our requests in stride; we thought this was because of The Beatles being from there, that legacy. The next year I made Me and You and Everyone We Know and was often thinking: it was just a few months ago that Emma and I were stranded in Liverpool, living a life that revolved around our sandwiches and now it seems I'll never have a time like that again! In retrospect this was actually kind of true. (It’s a postcard I bought in a Liverpool shop, turned upside down and painted on, then blown up into a poster for her room. What a good friend, hanging out with me there for so long.)