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.