Saw it again, this time on Tregenza's 35mm print. Exists at so many crossroads — a rigorous experiment in hangout movie, a high-wire act that lets the wind blow where it will — and accordingly quite easy to watch twice in as many weeks. It's playing one more time on Saturday afternoon; although I can't tell you what to do I think you should see it.Anyway... opportunity enough to reshare my interview (it took a long time), and considering the ratio between this movie's feat and how little-seen it is, highlight what I thought a fascinating point about how / why so much outsider art is quickly, forever marginalized.I think it’s very easy to rail against the machine, the system, and if you’re doing it at a level of communication or praxis that can be demeaned or trivialized — 'Oh, it’s not a film' — they undercut the content, the politics, the ethics, and you’re marginalized because you’re not at a level of discourse.So part of what I was doing in wanting to go back to 35 is: you look at our films and they’re in-focus, sharp, up at the level of discourse that was part of traditional standards, but the content — as in: the ethics — are completely different. I’m turning; I’m trying to find a way to use the art against the idea of what inflames or constrains thinking, the ability to be free, the poetics of art. I always thought: 'I have to hit that level to not be marginalized, to not be trivialized, and if I can make that even approximately…' I can’t spend millions of dollars on a movie, but it’s in focus, it’s sharp, it’s in Dolby Stereo.
