My Lithuanian activities, my poetry take no time. That is done, you know poetry does not take time, it takes completely something else. So, all my physical time is... cinema is avant-garde and that's very, very big chunk.

Now I'm, again I have a different life that is invisible and not known in America, but it's very visible in Europe, in France especially, but in some other countries also, or in Japan. You see, it, it's very sort of, sometimes I say that in Lithuania, I am only a literary person, I am a poet. They don't take seriously my cinema and they don't know my cinema. They are beginning now, they knew, the younger generation they... actually right now, last week, they organised a screening of my Dedication to Fernand Lege the 24-hour long video on 12 monitors. In here, in the United States, my filmmaking is sort of known, but only in certain circles. I'm mostly known, I think, I'm not exaggerating as the, they call me a maverick and, or maybe some remember from The Village Voice, promoter and maverick, independent cinema now in Brooklyn they call me 'godfather', whatever that, but not, not a filmmaker. In Europe I am a filmmaker. And now also in Europe I'm also doing a lot of installations and the exhibitions in museums, something that I started really already 15 years ago in Japan, making prints of certain images from my film. I call them frozen film frames when, which is possible only to do with my kind of footage where there is a lot of single frame activity. Where there, if you take a regular Hollywood kind of, you know, movie or TV documentary, and take two frames there is no different than the other. In my film with, within those two frames could be, could be already three clashes or two clashes so I'm very much interested in that. It's something between photography and cinema but it's neither photography nor cinema. So it's sort of, it's challenging, kind of obsession. I have discussed this with Robert Frank and he's also, you know he's interested in those possibilities. I'm, I'm not taking any just three frames; I really chose what there is some dynamic. It could be portraits, it could be anything. So, by having exhibitions and I'm sort of, of those frames and, in galleries and museums like Metropolitan Museum in Tokyo or Jeu De Paume in... Galerie de Jour in Paris.