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What inspired you to make this piece?
Love was a major inspiration . . . sadness, too. The trains and webs of steel enslave and at the same time bring us together. The past haunts me, and at the same time its memories are precious. I suppose SILVERCUP was an attempt to make something beautiful out of the conflict I feel.
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| From SILVERCUP. |
Tell us a little about the process involved in making this work.
Like all my work, intuition was a major ingredient. The making of the film was a blending of spontaneity and reflection. Much of the film was edited in the camera. About half of what I shot was discarded, and in the editing room I very slowly removed and arranged what remained after several screenings. The soundtrack was added later.
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| From SILVERCUP. |
Do you have any interesting and/or amusing behind-the-scenes stories about the making of this particular work?
Karen Teanor encouraged me to keep shooting the film. I can always think of a million excuses of why not to do something. The film was titled by Karen as well.
Is there a relationship between your work as a video/filmmaker and life in the New York metropolitan area?
If I didn't live in New York, I wouldn't have made as many films and photographs using New York subject matter. At the same time, if I didn't live in New York, I definitely would have managed to visit in order to do so. I'll never forget my first memories of visiting here from Connecticut as a child. Those first memories continue to inspire me.
How has the burgeoning independent movement affected your life and work as a video/filmmaker?
The burgeoning independent movement has not affected my life in that I finance my still photography and filmmaking by working in an unrelated field. However, it's hard enough to make experimental films with no financial reward . . . to do so with no audience would make it all the more difficult.
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