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One of my favorite science films and the greatest soundtrack ever! Yes, I am considering Pulp Fiction in that statement! Jeffrey Falcon, Post-Apocalyptic fun and rock 'n roll!!!
We were, for a few decades, on the razor edge of a knife that we held at our own throats. The Cold War held us in place and made us do stupid things, like build massive stockpiles of arms never realising that adding weapons to a situation has never led to greater safety; it merely brings on a greater desire to use them and prove their worth.
Atomic Cafe, a film that moves within the world of the paranoia, that takes no new shots, merely forces us to look at what our predecessors thought were good ideas, is on the National Film Reigstry, and while other pieces express the paranoia well, like Dr. Strangelove and Duck & Cover, none make us realise exactly how much a part of our lives it was, how preoccupied we were, how out of our minds we managed to make ourselves to believe we could possibly be safe.
Atomic Cafe is a call for sanity, and one we never really heeded. We did not stop being paranoid. We simply made our paranoia work for us... or at least our politicians made it work for them.
Martha Colburn is a helluva filmmaker. Her works are, well, indescribable, and not in a Gaspar Noe sort of way. Her stuff ranges all over the place, and she is exciting! Her films and installations are wonderful ruminations on all sorts of things, and when she hits, she hits hard!
You inhabit two of the worlds of film – the festival and museum realms. What role do you see film playing in museums today?
I am thinking about how the public can be part of my work, through costumes and clothes and sets. I will be showing some films in Varbergs Konsthall in Sweden in October.
Your films are often incredibly scored, you've created music, and also done music videos for bands. How does the process for each differ?
It’s the same for me– its musical. Next week I have a performance where I play a sampled set and some drums, with a drummer and a synth / harmonica player. I put together the group and do projections. I had a band that put out six records – The Dramatics. I’m musical, but now I am interested in applying this to scripts and stories.
I absolutely adore the style you employed for MYTH LABS. Where did that film come from? When you work on a film like it, how do you get started?
I started with personal stories, people I knew from High School and friends of friends were being impacted somehow by the epidemic of Methamphetamine when I made the film. I then go to research, books, internet, talking to people, writing, and collecting images. It is my writing and research that I find to be the most work.
When you are struck with the concept for a work, how do you go about choosing its form, whether an installation or a film? Do you ever start down one road and then end up having to re-work everything?
I am working on scripts and with actors, and performers now – as part of my filmmaking. I don’t even want to think as narrowly as film or installation- however practical approach that may be- but I first think outside the box- how I can do something live, something engaging. I am an animator for the last years, but when I am not behind the camera – which is not very often - I like to think way beyond that, how I can work with fashion, music, opera, theater, sexual education, political movements, environmental campaigns and anything but animation.
Klaus at Gunpoint
A Film Journal dedicated to all film.A segment of Office Supply Publishing.