You have talked often and movingly on Kenneth Anger’s influence on your work. BEAUTY IS NOT A SIN includes direct visual quotations (e.g. from Kustom Kar Kommandos) as well as more general influences, such as color schemes, the tattoos, not to mention the fetishization of a motor vehicle…
I have always been inspired by the work of Kenneth Anger and have used his inspiration in numerous ways throughout my work. You can, in a way, define how we fetishize luxury and objects because of him – there is always a clear pathway back to Anger and his work.
Your work tends to use dialogue sparingly – what brought you to make what is basically a silent short film in this case? What did that mean in a narrative sense?
I guess using dialogue so sparingly is a reaction to my dyslexia and always having to count on my own instincts and sensibilities. It is what I see or feel first that inspires me. Making BEAUTY IS NOT A SIN into a silent film made it more universal. After all, isn’t that the objective of everything we do, to make things for the entire world to experience?
