I'm not so much in the future as always in the present. The future always takes care of itself. What I do now with my video camera, it can only record what is happening now. I am celebrating reality and the essence of the moment. And that's the greatest challenge that I have.

I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.

An adventurer can always return home; an exile cannot. So I decided that my home would be culture.

My films are the celebration of reality, of life, of my friends, of actual daily life that passes and is gone tomorrow. We don't pay attention to it when it happens.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

Most of my videos consist of fragments, one or two minutes long. They are haikus or sketches. I have thousands.