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What compelled you to make this piece? How does this work address issues that are important to you or close to your heart?
SUPERHERO started with this urge to punch out Batman -- of course I had to turn into a cartoon first. I was annoyed that Robin was getting axed from the strip. It's always some small innocuous event that leads you to the bigger innocuous events.
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| From SUPERHERO. |
How does living in the New York metropolitan area affect your work?
The lab is nearby and the cold concrete and overstimulating New York City environment drives you inside to work. (I don't know how they get anything done in Rio.)
What about access to the tools of production and post-production?
Well, lately I've been working digitally, so I don't need the lab, but now all the cheaper computer businesses are scattered throughout the country. It's about time and money; I'm getting older, so there is less time and certainly grants are shrinking, too.
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| From SUPERHERO. |
Why did you become a film/video artist/maker?
Early trauma. And now it's just a bad habit. I've been trying to quit for years.
Do you feel the New York independent film/video community has changed in recent years? Do you find support living and working in such a large community of artists?
The independent experimental film community has been going the way of the middle class (the less experimental film community tries to go the way of a Sundance). It all started with this President . . . I can't remember his name -- must be the Alzheimer's.
Do you have any interesting behind-the-scenes stories about the making of this particular work?
I always love remembering early beginnings, like when I wanted to film my dog upside-down, so I climbed up a tree and hung by my knees. Later, of course, I figured out that I didn't have to do that. I hung Amos upside-down . . . though it did make him a little peevish.
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