I never have an idea about how I'm going to put it together. Okay, let's say Lost, Lost, Lost. After... there was some since I had more material than that what's in the film. I thought that I will more or less deal with the... first, I looked and looked through it and then as was... as I was looking through it, it became clear that one... a lot of it deals with my life in exile as I see, as I'm changing so I decided just to stick to that theme and to use only that material that relates to it or could be used, manipulated to... just around that theme. When I went to He Stands in a Desert Counting the Seconds of His Life, I pulled out only the... As I was looking and looking again what I have... I discovered there was a lot of little scene, like scenes on various... in various places in various situations that lasted for only half a minute or one minute to two and it was only my concentration on what was happening there and none of those scenes relate to any other. There were like... okay, they were like Lumière, the first films of Lumière or none related to any other you know there different completely, there is the factory there is the train and one has nothing to do with the other. Or the same was I found that I have hundreds of such scenes so I eliminated everything else and just left those scenes and practically that whole film is like 150 of those scenes and they don't... they... of course they... they show my glimpses of my life, but sometimes they have nothing to do, I'm...

Actually, in that film mostly I keep my own life out, I concentrate on the situations and life of other people, be it like a niece's birthday or... or again, the factory in Pittsburgh or... or very little of my own life is there, everything is like outside. Reminiscences... is very clear, and then of course in the As I Was Moving Ahead Counting The Seconds... No, As I Was Moving Ahead Counting the Seconds of my Life, that's an interesting... As I Was Moving Ahead...There I, again, eliminated. My process is elimination, you see. I look and look and then I feel that that doesn't belong here and that doesn't belong so I take it out and then what's left... I left, I felt it became clear that I'm concentrating it now on my... just my life, my own life and I took out everything that dealt with the life of my friends and that's something else. Most of it I took out and it's still sitting on film. That's more or less how it works.

[Q] But then how does the sound come into it?

Then I collect all the sound of that period...

[Q] That you've already recorded?

That I have already recorded and I have thousands of reel-to-reel and cassettes when I carry very often a little, just tiny Sony in my pocket and much of that sound comes from my Sony. Also I have a Sony during my editing and I have tape recorder on the side and at the same time when I'm editing always ready to. If I... when I'm checking, looking through my footage very often I talk into my tape recorder which parts of it and I use in the film. So it's a combination of the material, audio material recorded during the filming and then my comments are... I have also a radio going all the time and if I hear something I pick up right there from a little tiny radio that I sometimes use also. P Adam Sitney has, you know, as a joke, he was very amazed he walked there in my room at Chelsea Hotel when I was editing Walden, look he has two televisions going, I had two television sets going, I had a radio going and I had a tape recorder going. I had four sound things going at the same time.