A still from O Leonardo
neous style, continuity editing, it reveals a Maddinesque touch. could you introduce our readers to this aspect of your art?
with an odd jazzy swing that seemed to give it just the right kick. Ultimately though, the timbre of my voice is not pleasant for dogs, children, and other sentient creatures. So I eventually found the actor David Toney whose deep, rich vocals brought new power to the work (his reading at the end is incredible). In retrospect, however, I may not have sufficiently adjusted the work to balance his contribution, and wonder whether adding more odd, meditative breaks might not have improved the whole.
I’ve always been drawn to the language of montage, with its capacity for generating and encoding new ideas. Otherwise, technique is something I don’t think about much. I just respond to the material. I wanted a certain flow through the piece, where extracts from the disparate works might fuse together in a mythic, dreamlike whole, so I did some gentle tweaking with glow and tone. But it’s funny, you’re reminding me of editing and I still have some quarrels with this O Leonardo piece. I chose a kind of relentless rhythm that reflects the march of technological progress and destruction. But this decision meant the material teeters on being a bit numbing with little tonal respite. I originally read the words
What can I say? I occasionally make things that are flawed, now and forever. But I love the video, as it’s always a kind of success to render into form something that might otherwise reside only in my head. In these last years we have seen that the frontier between Video Art and Cinema is
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