Also in 2010, the Guggenheim performance became the basis of a 26-minute documentary film "KOOL, Dancing in my Mind"  directed by Richard Rutkowski and Wilson, premiered on ARTE TV in France and Sundance Channel in the U.S. Rutkowski's 65 minute film on Ms. Hanayagi, "The Space in Back of You," had its New York premiere at the Film Society of Lincoln Center's 2012 Dance on Camera event, its California premiere at the San Francisco Int'l Asian American film festival and international premiere at Thessaloniki Doc Film Festival in March, 2012. In a 1986 interview by Japanese "Dance" magazine editor Roku Hasegawa, Suzushi Hanayagi said: "[My work] is like a diary. My work is to observe myself and to receive outside stimulation or experiences. I compose my thoughts from these sources. When I used to live in New York I felt a conflict in using separate ways, because the people that I worked with were in different worlds. After returning to Japan I started to study classic dance form again. This time I tried a different way to work. I like it very much. So I feel very natural when I’m doing it. It resolved the conflict. I can use two worlds of dance without mixing. I don’t know why I came to admire the conflict. It may be because I become dull or generous. Anyway, I become two worlds with one world. I don’t criticize this in myself." In a 1986 interview while in residence at American Repertory Theatre in Cambridge, Massachusetts , Hanayagi commented: “When I do classical dance, I don’t want to change the movement. I don’t want to put my own expression, my own ego, into the classical dance tradition. When I studied with my teacher one-on-one, I felt something very much like Zen meditation; I felt very pure, I didn’t feel anything about my own ego or expression." Robert Wilson has said he discovered, from working with Hanayagi, that abstract movement can generate meaning and that movement can be a counterpoint to language. Hanayagi helped him open up the vocabulary of the gesture and opened Wilson's eyes to the importance of feet and the connection of the body to the ground, impacting the ways Wilson's actors stand and move through space, using their entire bodies to convey meaning. Without her influence, he would not have been able to master the literary texts and operatic pieces that have become such a focus of the latter part of his career.