I'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

I began writing poetry when I was about 10. Bad poetry, but you start with bad poetry.

We need less perfect but more free films.

Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.

There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.

My life is essentially not so unique. On some deeper levels we feel the same, we know the same things. Therefore if I show my life 365 days, moments from those days, it will reflect and it will have connection with lives of all of us.

In a meadow full of flowers you cannot walk through and breathe those smells and see all those colors and remain angry. We have to support the beauty, the poetry of life.