Cinema is a life-long passion-- one that I pursued wholeheartedly as an undergraduate student at Tisch School of the Arts' Department of Dramatic Writing. My concentration was in Screenwriting.
Ultimately cinema is a visual storytelling medium, and the challenge is to convey complex emotional states culminating in a single moment: an image earned through story. I use film as an opportunity to externalize my various preoccupations, or rationalize difficult problems that elude reconciliation. My forays in film attempt to locate the moment when things begin to fall apart, when the center slips; they range from the mundane, such as when a woman reaches the solstice of her beauty, to the grand, as in the case with Bell Labs.
Filmmaking was an integral part of my company Langoliers because I created the collections based on developing elaborate narratives.
The film for our debut collection Ritual Romance was a visual essay on the dissonance between modern love and sweeping romances in literature, and the tendency to allow one's trappings and material belongings dictate identity. Our source material was T.S. Eliot's The Waste Land, a singular obsession that consumed me for half a decade. We worked with Michel Gondry's production company Partizan.
For our second collection "Red", we wanted to explore the form of the jewelry and its inspiration. The structure loosely interpreted the alchemical wedding, and in a a series of ritualized actions, the Demiurge was able to transmute primordial ooze into woven gold jewelry. The story borrowed from the inspiration of the jewelry collection: Carl Jung's Red Book, Dragons of Eden, and The Mayan Tzolkin calendar. Red, as a film and jewelry collection, was my attempt to engage and master forces from a dormant, phylogenetic past.
"Bell Labs" is still in development. It was project that came out of my class at ITP, "Flying Robotic Journalism." This differs from previous work in film in a two ways; first, it's a documentary, and second, rather than dealing with abstraction and obfuscating my inner world through symbolism, I'm engaging with it literally. We filmed "Bell Labs" a few dozen yards from my childhood home in New Jersey, and I remember how mass lay-offs and a series of stock implosions sent seismic waves through my community. I grew up in the shadow of the Transistor Tower, and I wanted to go back to understand what had happened.