I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called ‘Film Culture.’
We need less perfect but more free films.
In Lithuania, I am known as a poet, and they don’t care about my cinema. In Europe they don’t know my poetry; in Europe, I am a filmmaker. But here, in the United States, I am only a maverick!
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.
You have the possibility to give light a dimension in time.
Place means nothing to me. I can be at home anywhere.
Most of my videos consist of fragments, one or two minutes long. They are haikus or sketches. I have thousands.
I’m not an abstract artist; I leave that to others. To me, abstract art ended with Kazimir Malevich’s ‘Black Square.’ To continue it is senseless.
I began writing poetry when I was about 10. Bad poetry, but you start with bad poetry.
I missed my teenage years. I was never a teenager.
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.
Seek the insignificant small but essential qualities, essential to life.
Just as in writing, there are novelistic and sort of pedestrian ways of telling a story, to write a postcard with your little pocket camera and put it on websites. I think that’s where the most exciting kind of imagery and content is being recorded and exchanged today.
I make home movies-therefore I live. I live-therefore I make home movies.
I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy’s and her sister Lee Radziwill’s families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship.
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.
As a film-maker and a poet, I feel it’s my duty to be an eye and an antenna to what’s happening around me. I always felt a solidarity with those who are desperate and confused and misused and are seeking a way out of it.
I am very active on the Internet. In 2007, I made one film every day and posted it on my website. That was a 365-day project, really exhausting, but I still put a lot of stuff on – from life, friends, my own life.
There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.
Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don’t want to feel like you are disturbing anything, so I may use a camera like that.