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.

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.

We need less perfect but more free films.

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.

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

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

The nature of the video camera really makes you focus on the present. Since I have always been a diarist filmmaker, not one who stages scenes with actors, it has always been about the present moment.