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That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

Screen work always boils down to that moment between the camera and the actor or the actors. It always boils down to that, ultimately. You serve the camera.

I feel that film, as opposed to theatre, is about capturing that one, real moment.

I came rather late to film. I've done an awful lot of theater before - before I discovered the camera, you know, seeing everything, requiring much less acting and - and much less presentation, much less projecting, more just being.

We are always acting on what has just finished happening. It happened at least 1/30th of a second ago. We think we're in the present, but we aren't. The present we know is only a movie of the past.

The present moment is changing so fast that we often do not notice its existence at all. Every moment of mind is like a series of pictures passing through a projector. Some of the pictures come from sense impressions. Others come from memories of past experiences or from fantasies of the future.

As an actor you have to have a strong vivid imagination as you're working and when the camera's rolling, but there's certainly a part of you that is aware of real life, that you're making a movie.

In the past, when I shot films about fishermen and hunters, I always had to admire their ability to perceive time in its entirety. The present was always temporary.

I'm not so much in the future as always in the present. The future always takes care of itself. What I do now with my video camera, it can only record what is happening now. I am celebrating reality and the essence of the moment. And that's the greatest challenge that I have.

I can remember the moment when I suddenly felt that the camera was a living partner. I suddenly felt this is art, and the camera is a co-operative living person. After that I was extremely happy to act in films.