Diaries, be it film or written diaries is just a variety of fiction, because the processes is not very different. Okay, between written and film diary is... you... in the evening and you're writing some of notes on what happened that day, but you are already somewhere else, you're maybe already tired, you ate already, your thoughts are... you're already... memories of that day, or if you're thinking about the previous day, they are completely already changed by where you are at that moment and what you write down is already something else, it's already a variety of fiction. Of course, when one writes a... okay, you go to Dostoevsky or you go to... to Tolstoy or there is the use of personal experiences integrated there, you know, and you don't notice or that, you know... you know, in the mind that whatever he's writing there about this guy lying and dying there and about the experience of, you know, dying or... he has sort of deducted from, you know, observations from his own life and friends etc.

Here, when you write the day you sum up your day or the week or writing memoirs it's, you know, more personal and more direct but it is... it becomes fiction. So when I'm filming, if I would... my camera would be running 24 hours non-stop, then I would say, huh, it's some kind of real, you know, life, there is 24 hours with no planning and no, if you wouldn't move even the camera, if it would be just running, no discrimination of... But I don't do that, I only pick up, like, maybe five seconds or maybe half a minutes on some day or in some week. So how can this represent the real, you know, realistic life. Of course it's... there might be some reasons behind it, why I decide to do... to film that moment only those seconds and those reasons are very, very deep, I am not aware of them, so what I'm making up and when I'm putting them, first there are those bits that. And then when I begin to put them together and I am again somewhere else 25 years later like or 10 years later, then I see it all then completely differently and I don't... I ignore, you know, the... don't remember all the details, the background, the circumstance that I filmed. It's there, you know, that footage.

So, again, I begin to impose and structure from the point in... in time where I am now, so it's of course whatever... what Dostoevsky wrote it's really... it's Dostoevsky, and whatever... and my film, when I put it together As I Was Moving Ahead... of course it's me, but also it's... it's fiction, it's fiction. Same, and... and plus, I'm not the only one during this period that is doing that. The whole thing started like 50 years ago or so in the second part of the 20th century when many writers and not only writer's turned to this to very sort of more personal... using themselves as part of their art from literature to... there are various different varieties which, like, what Norman Mailer did and what Max Frisch does, it's very different. Actually, I'm more with Max Frisch but it exists. It's all... I think we got a little bit tired of... of very strict academic kind of novel, so that when we see what some of the most current German or Hungarian or novelistic criteria, it's very autobiographical. Very, I mean – everywhere it's happening today. Sebald or Kertesz, Imre Kertesz, it's very, very autobiographical, very... not exactly diarisitic, more... So it's... it's big subject, of course. Then we go to, of course, to Anais Nin, and of course you see... you don't... people, diaries. Oh, now we're going to find out everything about them. No, I'm not Anais Nin. We're very different, there you find, you know, very personal, much more personal, of course, I'm all in but it's in a different way, and as I say, As I was Moving Ahead... as a joke, you have to know who to read it.