March 29, 2013
How did you find out about Joanie 4 Jackie and how old were you at the time?
I had been out of film school for a few years, working terrible jobs, trying to pay off my student loans. One of my dearest teachers from Cal Arts, experimental filmmaker Betzy Bromberg, had a screening in San Francisco, where I live. Betzy, whose work I love, has been incredibly supportive throughout the years. She gave me a postcard for the Big Miss Moviola project. It probably took me a moment to send my video in. I was 30 years old.
What interested you about the project?
The Big Miss Moviola postcard I received was seductively cryptic. Even though I am definitely a feminist, I was a bit wary of women-only projects. My main concern being, do they limit their audience from the start? But I liked the spirit of the postcard, it had a punk rock Riot Grrl DIY quality about it.
At the time you participated in Joanie 4 Jackie did you consider yourself a filmmaker? What was your relationship to making movies?
The film I submitted, Goiter Girl, was a student film that I had made. When I participated, I was still figuring out how to continue making films outside of a school environment, struggling to become independent, financially & technically. Being fully in touch with my vision, process and ideas; “perfecting” ones’ craft, would not come until much later for me.
What did you think/feel about the Joanie 4 Jackie at the time? And now, in retrospect?
I didn’t really know that much about the scope of the project. For me, being included was definitely one of those moments of encouragement along the way to not give up on making films, if it’s what you love. Now that I know more about the project, I’m impressed by what it created, an incredible network of encouragement. I also was not fully aware of the open, anti-curatorial aspect of what was included. The importance of the project, this experiment, is just revealing itself.
What institutions, groups, people, publications and movements were inspiring you at the time of your participation in J4J?
Cult films from the sixties and seventies, early internet, zines, Mad Cat Film Festival, Seattle Underground Film Festival, Film Arts Foundation (San Francisco), Jon Moritsugu, Sarah Jacobson, Betzy Bromberg, Suzan Pitt, Cal Arts, comic and graphic novels, Fantagraphics, thrift stores, Dan Clowes, Fiona Smyth, Cindy Sherman, Michelangelo Antonioni, Os Mutantes.
What do you do now – professionally and otherwise? Are you still involved in filmmaking?
I have since finished a couple short films, Elfmädchen and Imum Coeli (bottom of the Sky), and am currently working on 13th Street Division, also a short.