Director
Bathroom shows a somewhat seedy bathroom, beginning with a stab at seeing it “objectively” that soon fails; the forms descend into what I hope is a terrifying, even self-destroying irrationality. One inspiration was the long take depiction of madness at the end of Edgar G. Ulmer’s Detour; another, the two out-of-focus shots of the altar near the end of Douglas Sirk’s The First Legion.
Director
Though not a portrait, it was inspired by the way Gregory J. Markopoulos’s portraits in Galaxie intermingle the identities of his figures with objects around them; less obvious influences are F.W. Murnau’s Tabu and the relationships between figures and backgrounds in the films of Howard Hawks.
Director
Welcome to Come, which depicts a somewhat mysterious transformation of the image in the course of a single zoom, was my only film to achieve a small measure of "popularity," with a short write up in Variety and prints purchased by several film teachers who still show it today.
Director
Both a “short story”—a film about a girl who rejects “reality” to live in her own private world—and a film about progressive states of mind. Joan goes to a two-room apartment, removes wigs, false eyelashes, makeup; depressed at her own appearance, she lies on the bed and over-eats. The soundtrack (“It’s my party and I’ll cry if I want to…”) adds irony to her “orgy.” But it is her isolation from human contact, and her entrance into a self-indulgent fantasy world that are central “themes” of the film.
Director
This is a short film description of a room, and the way light (coming through a window) illuminates papers on a desk. An attempt to use color, camera movement and editing to transform everyday surroundings
