Limitless. FIlmmaking was created as a way of making the impossible possible. That's why I like making movies: there's nothing that I can't do in that domain, so long as I can imagine it.
--Is this different from what other people think you do?
Probably. Most people hear "filmmaking" and they probably think of big-budget summer blockbusters, or "Oscar movies," or whatever. While these can be great, they're not really my style, or what I aim for.
--How do you know if you're on the right track with a project?
If I stick with it to the end. I'm a person who is easily led by my own excitement. Sometimes I get really excited about a project, and partway through it, I realize it sucks, so I dump it. If I can make it past the excitement stage and keep going, I'm doing well.
--How do you go about making choices?
Creatively? Gut instinct. I like to think I have enough of a grasp of the creative things I undertake to know what will work, and enough of a vision to know how I want to tell a story.
Otherwise? Pure logic. I try to weigh all the components, the pros and the cons, to try and make the best decision I can.
--How do you know when you're done?
When I'm happy. Once I look at the piece as a whole and decide there's nothing I could do to make it better, then I'm done.
--What's your workspace like?
Messy, next question.
--What are your essential tools?
Other movies, for inspiration. Friends, for critique. Music, to set the mood. Obsessive compulsive tendencies, to get me as closes as possible to being right the first time.
--What's the most surprising tool you use?
Cartoons. Cartoons were such a big part of my life, even beyond my childhood. They taught me how to act, and more recently, how to do crazy sound design. For example, one of my favorite cartoons "Courage the Cowardly Dog" has many episodes that are nothing less than works of art. For example, this is a piece of the original score for the show, entitled "The Tower of Dr. Zalost:"
Amazing.
--What was your biggest mistake or the one you learned the most from?
Going to NYU's version of UNCSA's summer session. It was terrible. We had a week to write and produce a short film. A WEEK. It was expensive and the film I made was terrible. It tought me the importance of pre-production.
--An example of your work:
This is the first film I ever made. It was for the Radio and TV class I mentioned in the last post. Working on this was the first thing that made me want to be a filmmaker.
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