视频出了([https://www.youtube.com/watch?v=8cZyA3XDZK0])
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Q: Amy Taubin
A: Aaron Brookner
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Q: Howard was a great film maker not only for those that he is acknowledge for, but he was a great film maker because of that last scene we see in the film. which is this extraordinary video that we see in the , so my question is how did you choose what you are going to include of what he himself shows(?)
A: well what was interesting we he was shooting on one side of the documenting things in life, but he was doing it in a pre-iphone Youtube age, so he was shooting it from a filmmaker’s eye, it was by a 16mm camera, which was precious. so there were specific moments that he would focus on and he was never overtly specific why he was shooting it he started keeping a video diary we worked in backwards?_ when he was sick, but he never talks about this, he just hold the camera and started talking about what if it was someone young and meditation on death and it was just very easy to get inside howard’s head and see the world that he saw in that moment that this clip has a lot meaning to the story . I don’t know, but as soon as I saw that dancing video to the …..DER song where he was talking about Louis who was his agent who also died from AIDS that he was using this moment to talk about somebody else opposed to him?.) and dancing everything it was just…I don’t know with this goofyness and sunset, that was the way he end up the film, and that was just very Howard.
Q: The film is essentially a portrait, a portrait made with great love but it is also a piece about a period and a ny that gone and that statement of it these people had not died, we might be in a very diff place here, bring so true, and for me it is what the film is about, I mean is finding that world that was cut short. so what I want to ask is that the editing must be enormously difficult, bc you have all these wonderful materials and you have the content to Howard and you had Howard himself
A: It was extremely diff and William Boroughs just making sence of that just kind of complicated …no it was extremely uh intellectually texing there are so many storylines but also physically i mean just getting …YOU know we walked out of the bunker with a lot of film cans which seems great but in realty you’ve got 300 cans of 16mm film and there’s nothing doubt to the sound? and there’s no log note or anything so then it started to daunt us how much money we need just be able to see it so I would go to institution maybe whoever would say ok I need whatever amount of money thousands of dollars to transfer this amazing archive he said oh great, can we see it, I was like well no, I need your money so that we can see it, and they will kind of hesitate so it took a lot of time just be able to transfer that and then to make sense of it, sink it up most of the sleets? we use that sequence where you see howards it was really difficult plus finding things all over the globe, we were kind of like stem on our own archive while trying to make sense of it under editing with these multiple storyline.
I think the editing in the end took a year and a half but it was done by two people. arron worked on a lot of drafts of ideas and emotions with another editor, and also I think what really help is at some time we don;t have the money or material that we could see, but we do have the tape, so arron was doing a lot of protential edit notes with just the sound, and was being really, like putting a lot of dedication into that almost someone who gets up at certains time of the day and sits down to write like a writer’s routine, he was doing that from a sound routine as a filmmaker I think also help create this a year and a half long ???
Q: I want to ask a question about the material themselves which I know have been digitalized but what is going to happen to these materials , which is much more materials than there is actually in this film itself.
A: Well, we would love to know what’s going to happen, we had many blue prints by now like many plans are about to happen and fell through recently and then another one, so we don’t know, we are still trying to find a house for the materials, the materials are now in storage, we have a storage now but the materials are not at the right place, we know that, and we want the house for the materials where people can also access it and that’s very easy we realized in the real world of preservation there is a preservation of the actual object and there is preservation of the material of what we see, and not the two worlds together
Q: what does Arron see the diff between ny now and ny then from the perspective of a film maker?
A: Money, I mean there are two things, one is cheap, brad showed me Howard’s lease it was just 100 dollars a month, so you had time to your real work, working you find anywhere and also it was preinternet obviously, but communities were actually communities and there were something read tactile I think going on there as far as the exchange ideas and weel also intimacy sex and drugs you know is being created … fabric rare energic so that was taking place at the same time.
Q: I think in this film sara driver whos very important to getting this film walk a ground…? talks about there was this energy where people just plunged in and did it whether they gone to school or they .. trained, people just did from nothing and with nothing, that’s something that you do not find anymore.
A: the second that sara said was there was a real desire that they had to take risks and made mistakes, because that's how you would learn, which is one thing to say but always have to practice now. and we talk about the diff now where everything is very fast, it could be quit damaging to you, your career whatever for you to take a big risk make a big mistake cause you’re not supposed to do that necessarily, that’s the big difference too.
