From the very early stage when I started doing performance art in the '70s, the general attitude - not just me, but also my colleagues - was that there should not be any documentation, that the performance itself is artwork and there should be no documentation.

My work is immaterial. It's not painting, it's not sculpture, it's emotions. I'm giving you something to experience yourself.

The complete absence of the story - that was the best thing about this whole thing, because you know that nothing's going to happen and everything's going to happen. It's just the gaze. You create your own zone.

You know, art is very emotional business. But mostly it becomes not emotional, the fabric of commodity. It becomes business. It becomes so many different things. Because we forgot there was emotions involved.

Zooming in, zooming out. I was shocked. I said, "Let's erase this right now, put the camera behind the stage and I'll do the performance just for the camera." He set up everything and I told him to go outside and smoke a cigarette. Come back when I finish. Don't touch the camera. This was the way how I've done most everything after that.

For me, the most difficult piece is the one I'm about to make.

Americans don't like European movies.