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At that time, when I started, in the '50s, cinema was very classical in its aims.
Sometimes I want to work with a DP, sometimes I want to work myself. I go to 35mm, 16mm, it's all the same, but it depends on what you want to tell and what are the tools you need.
I waited for each film to become important for me. If I had no ideas for a film, I didn't do a film. So I made not that many films for fifty-four years of working.
I just didn't see films when I was young. I was stupid and naïve. Maybe I wouldn't have made films if I had seen lots of others; maybe it would have stopped me.
I made a braid because Chinese old people, they say that the God will take you by the hair to join you with - but God didn't take me, so I cut the braid.
The boundaries between contemporary art and cinema are so rigid. It's unbelievable. The film critics don't know my artwork and the art world doesn't know my films.
People like my films. They understand me through my films; it's like a connection that has been established between all my work and myself and the audience and the viewer.