I have to shoot three cassettes of film a day, even when not 'photographing', in order to keep the eye in practice.

I don't pretend to be an intellectual or a philosopher. I just look.

My work has no theme. I don't care if my photographs get published, and I have no interest in the news. But the invasion of Prague was not news, it was my life.

My photographs are proof of what happened. When I go to Russia, sometimes I meet ex-soldiers... They say, 'We came to liberate you....' I say: 'Listen, I think it was quite different. I saw people being killed.' They say: 'No. We never... no shooting. No. No.' So I can show them my Prague 1968 photographs and say, 'Listen, these are my pictures. I was there.' And they have to believe me.

I am not interested in repetition. I don't want to reach the point from where I wouldn't know how to go further. It's good to set limits for oneself, but there comes a moment when we must destroy what we have constructed.

I never stay in one country more than three months. Why? Because I was interested in seeing, and if I stay longer I become blind.

When I first started to take photographs in Czechoslovakia, I met this old gentleman, this old photographer, who told me a few practical things. One of the things he said was, "Josef, a photographer works on the subject, but the subject works on the photographer."