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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?
I'd heard this wonderful subway conductor's voice on the #1 train for years, and I'd always wondered -- does he know how many people are smiling, laughing, and enjoying this? Who IS this person, and why does he bother making such intricate, funny announcements? One day I decided to find out. I wrestled through a rush hour train and found him in his booth. It was like finding the Wizard of Oz behind the curtain. Harry Nugent reminded me of what I love about New York -- the creative individuals who unexpectedly step out of the crowd -- just because. And how sticking out can sometimes make a positive difference.
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From NUMBER ONE LOCAL:
HARRY NUGENT. |
How does living in the New York metropolitan area affect your work?
Living in New York is sometimes like a Fellini movie, which is one of many reasons I choose to live, work, and stay here. No matter what or who you see, it's all great material. Especially overheard conversations and requests, like when someone orders "Ginger ale WITH caffeine, please." Sometimes I long for a "Citywide Day Without Car Alarms," but it's a small annoyance compared to what else is here to experience.
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?
What I loved about making this short was the one-on-one aspect of it -- no crew, no lights or tripod -- just me packing a camcorder and riding with Harry. It's great to see more people now going out there and telling their stories this way, simply -- one-on-one.
What about access to the tools of production and post-production?
Production and post (and access to these tools) seem to be getting easier with small format and digital technologies. Time and money are the two tools I think we could all appreciate better access to.
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From NUMBER ONE LOCAL:
HARRY NUGENT. |
Why did you become a film/video artist/maker?
Making films/videos is contact sport to me. It allows me to combine all the mediums I work with and love -- composing and performing music, writing, visual design, and dance. It's fun to get away with doing all of these things at once in a film and have the freedom to create in several forms, focused into one.
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 New York independent film/video community seems to me to be expanding, drawing in more people from diverse backgrounds and disciplines, which benefits us all. I like living in a place where there are so many creative people and artists. Even with major funding cuts and fiscal problems, there seems to be a determination here to continue doing the work and finding creative solutions. AIVF (Association of Independent Film and Videomakers) and VLA (Volunteer Lawyers for the Arts) have been extremely supportive and are wonderful resources for me and many others here in New York.
Do you have any interesting behind-the-scenes stories about the making of this particular work?
The first time I was scheduled to shoot Harry, I got on the #1 train as planned. But on board was this huge European television crew . . . the lunky Betacams, all these lights, wireless mikes, producers, and assistants . . . I looked down at my little Sony Video8 camcorder in my backpack and thought, "Can I run with the big dogs?" I decided to "pee with the puppies" and come back some other day.
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