In developing a concept for a film one comes to an idea. I suppose for me I have strayed from this notion of a solid idea a way to interpret and get what I am doing in making anything. I don’t really feel that it is my concern to have a serious idea and to be concerned with taking that idea seriously. This is not nuclear negotiations or anything of legitimate consequence it is the making of a product that will at best evoke some sort of cathartic experience on the part of the audience or at the very least inspire some entertaining or amusing questions about the quirks of life, nature, humanity and all those other vague and irrelevant subjects. I enjoy making movies and playing with imagery to create meanings and such not because I believe I have “something to say” rather I find the act of creating the product to be one that at best is a sublime distraction.
That is not to say that my ideas aren’t something I have a degree of sincere consideration and confidence in promoting, rather I play with these ideas instead of dictating them at best having fun with the images and the ideas that the audience can come up with. I do not work in such an esoteric fashion to create product so desperately abstract to evoke only the forced awe of art house patrons and frankly I do not see the point in that except as it perpetuates an elite class that all classes of intellect is based on rather illusionary pretenses. I can use big words [with the help of a thesaurus and spell checker of course] to write about the most vulgar of works such that it can sound truly profound. This form of deconstructive criticism and attempt to assign importance to “serious” ideas is retroactive at best and ultimately a game for those who prefer to concern themselves with ascribing objective value to something that is only as tangible as the collective references [the shoulders of giants] that can be universally understood. In this case that which is serious is that which is generic and most accessible in a piece of artwork everything else is a clever attempt to reduce the uniqueness of the piece into those parts that can be reassigned to previously understood movements of thought and art in human history. Without inventing new words our human minds will ultimately resolve metaphor into these basic concepts and find a way to arrive at the familiar. For me the point is not in trying to mask this familiarity behind some pretense of a serious commitment to originality or this lofty notion of the filmmakers idea, rather it is to find novel and interesting ways to create meaning from the familiar through references and combinations creating novel images that create unexpected and yet totally familiar and strangely intuitive emotional responses and intellectual pondering satisfying the human desire for catharsis and neurological stimulation.