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

Place means nothing to me. I can be at home anywhere.

In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.

Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.

I always work only with friends, but it must be about them and myself. Because I film only very personal moments, nothing preplanned, staged or written, it has to be real and spontaneous. Some of them have become famous, some are not yet famous, some will never be famous. But they are all my friends.

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.

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