We're living in a New New York, and films set in this New New York have a gloss that I don't think is what the origin of film in New York is about. I'm not into nostalgia, or even that into tradition, but I am into ethos.
As a black man in the United States he decided to turn his attention and focus towards challenging the traditions of popular culture while celebrating black culture and the black experience at the same time.
I was looking for more of a material connection than I had personally felt with paint and with the rectangular image. But in the moment, it felt really spontaneous. Thread solved a lot of the problems I had in painting–formally. That is also why I ran with it. It forced me to slow down.
I don’t want any fantasy in my images. I want viewers to look at the photos and see these beautiful people as they are.
I wanted the film to be much more of a character piece than a broad statement regarding global issues of environmentalism. As a filmmaker, it’s great to see the film function in a variety of contexts and with a variety of messages depending on what perspective the viewer brings to the film.