Best 29 quotes of Jonas Mekas on MyQuotes

An adventurer can always return home; an exile cannot. So I decided that my home would be culture.

As a film-maker and a poet, I feel it's my duty to be an eye and an antenna to what's happening around me. I always felt a solidarity with those who are desperate and confused and misused and are seeking a way out of it.

For me, to catch, to celebrate the reality and life and friends and everything around me the very moment it happens - that's what is, that's what I'm possessed by.

I always work only with friends, but it must be about them and myself. Because I film only very personal moments, nothing preplanned, staged or written, it has to be real and spontaneous. Some of them have become famous, some are not yet famous, some will never be famous. But they are all my friends.

I am very active on the Internet. In 2007, I made one film every day and posted it on my website. That was a 365-day project, really exhausting, but I still put a lot of stuff on - from life, friends, my own life.

I began writing poetry when I was about 10. Bad poetry, but you start with bad poetry.

I brought Yoko Ono to New York and gave her her first job there. I was editing a magazine called Film Culture.

I had the fortune to spend some time, mostly during the summers, with Jackie Kennedy's and her sister Lee Radziwill's families and children. Cinema was an integral, inseparable, as a matter of fact, a key part of our friendship.

I'm a filmmaker, but my working procedures are different. All my basic structuring is done during the filming. You know, how long I keep the shot, the exposure or the speed - slower or faster, etc. That's structuring. And then there is a second stage of structuring that comes later when I begin to put those pieces together.

I missed my teenage years. I was never a teenager.

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'm working in a form of cinema that can be described, and has been described, as a diaristic form of cinema. In other words, with material from my own life. I walk through life with my camera, and occasionally I film. I never think about scripts, never think about films, making films.

In 1962, we created the Filmmakers' Co-Op because nobody wanted to distribute our films. If we had the Internet in those days, we wouldn't have needed the Co-Op.

In a meadow full of flowers you cannot walk through and breathe those smells and see all those colors and remain angry. We have to support the beauty, the poetry of life.

In Lithuania, I am known as a poet, and they don’t care about my cinema. In Europe they don’t know my poetry; in Europe, I am a filmmaker. But here, in the United States, I am only a maverick!

In the very end, civilizations perish because they listen to their politicians and not to their poets.

Just as in writing, there are novelistic and sort of pedestrian ways of telling a story, to write a postcard with your little pocket camera and put it on websites. I think that's where the most exciting kind of imagery and content is being recorded and exchanged today.

Most of my videos consist of fragments, one or two minutes long. They are haikus or sketches. I have thousands.

My films are the celebration of reality, of life, of my friends, of actual daily life that passes and is gone tomorrow. We don't pay attention to it when it happens.

Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.

Seek the insignificant small but essential qualities, essential to life

Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shoot ten frames, on others ten seconds, still on others ten minutes. Or I shoot nothing. Walden contains material from the years 1964-1968 strung together in chronological order.

Some cameras are heavier and need to be on tripods. Others are small enough to hide in your pocket. There are places where you don't want to feel like you are disturbing anything, so I may use a camera like that.

Suddenly the intermedia shows are all over town..Theirs remains the most dramatic expression of the contemporary generation. The place where its needs and desperations are most dramatically split open. At the Plastic Inevitable it is All Here and Now and the Future.

The deeper I went into culture, the more confused I got. So I needed something more real. I said, "Okay, from now on, my country will be cinema.

There is no other way to break the frozen cinematic conventions than through a complete derangement of the official cinematic senses.

We are the measure of all things. And the beauty of our creation, of our art is proportional to the beauty of ourselves of our souls.

Yes, I got my first Bolex camera a few weeks after being dropped in New York by the United Nations Refugee Organization. That was on October 29th, 1949. With my brother Adolfas, we wanted to make a film about displaced persons, how one feels being uprooted from one's home.

Education is the resistance to everything that is bad today.