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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?
ANOTHER BROTHER is a portrait piece about Clarence Finch, a good friend of mine for many years. It wasn't until he died that I realized his life could have major impact on others, particularly young African Americans. When we found an audio taped autobiography, a few of us (his wife, daughter, and best friend) felt compelled to bring his story to others. It wasn't easy. We had to search throughout the country (we placed ads in all kinds of veterans newspapers, contacted public access programs, and researched many archives) for the images that would illustrate his journey. This documentary is close to my heart because it is about all of our histories and how racism has an impact on all people.
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| From ANOTHER BROTHER. |
How does living in the New York metropolitan area affect your work?
I love New York City -- have lived there all my life except for the four years that I studied in Latin America. Most of all, I'm creatively and intellectually stimulated by the subways. It's the range and diversity of the people of New York City that keep most of us here. I also love the oldness and presence of history. The parks and museums aren't too bad, either.
In including your work in REEL NEW YORK, do you think your piece in any way pushes the medium of television, or the viewing audiences' expectations of that medium?
It's critical to the very existence of public television that stories of "everyday people" are presented. In form, ANOTHER BROTHER is very traditional; however, in content it will push the viewing audiences' understanding of drug addiction and the everlasting impact of war.
What about access to the tools of production and post-production?
With the changes in technology, production has become both easier and harder. I'm always learning how to use computer-based post-production equipment and sometimes find it a distraction. However, all this new technolgy has created a new language of storytelling -- and I love it.
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| From ANOTHER BROTHER. |
Why did you become a film/video artist/maker?
I found painting too isolating and was always frustrated that so few people interacted with my work. So at 19 years old, I purchased a 16mm Bolex camera for $200 and hitchhiked to Guatemala and made a film collage about the life of a peasant woman. I still paint now and then, but have been making films and videos ever since.
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? Where do you go for help/resources?
Yes, the very word "independent" means something quite different than it did when the Association of Independent Video and Filmmakers was created. Back then, "independent" was ideologically based and not economically so. Today the "community" is more competitive than ever and the resources are scant. I am lucky to be supported by the institution that employs me, Hunter College. They love my work, promote it, and even find ways to support it.
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