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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?
The talk show theme -- "My Daughter Dresses Like a Hooker" -- is repeated often enough that it has become a genre unto itself. The perverse nature of this battle over sexuality between mother and daughter combined with threats of rapes and diets from the jeering audience confused me. I wanted to understand why people were interested in these shows.
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From LADIES, THERE'S A SPACE
YOU CAN'T GO. |
How does living in the New York metropolitan area affect your work?
There is an amazing concentration of talent and ambition in New York. Sometimes it is overwhelming, but most of the time it's energizing.
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?
LADIES, THERE'S A SPACE YOU CAN'T GO plays on people's expectations of media by using a music video format and appropriated talk show images to expose and critique itself.
What about access to the tools of production and post-production?
LADIES, THERE'S A SPACE YOU CAN'T GO was an incredibly low budget video. My recent projects are far more elaborate and have been far more difficult to fund. Fortunately I've received residencies at the Experimental Television Center LTD and Harvestworks and they have been tremendously helpful. What's really lacking in terms of video today is money. There is none. Ambitious, experimental projects are almost impossible to produce.
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From LADIES, THERE'S A SPACE
YOU CAN'T GO. |
Why did you become a film/video artist/maker?
I'm a TV baby.
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?
I've exhibited most of my work in galleries in the past. It's a different world than independent film and video. I'm fortunate in that I have friends who will help with productions when threatened (I mean asked). In terms of facilities, I rent equipment and get dubs from Film Video Arts and edit at the Outpost in Brooklyn. The residency programs at the Experimental Television Center LTD and Harvestworks have been great recourses also.
Do you have any interesting behind-the-scenes stories about the making of this particular work?
Everyone who admits they've seen this episode of Sally Jessy Raphael swear it's the only time they've seen the show.
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