I began working with video after receiving the first ream of rejections from the publishing industry. That was pre-YouTube, the Pentium III era, when the first mini-DV camcorders were coming out. For the first time, you could ingest footage and edit on a home computer:
The initial spark that became Another End of the World happened just before the VCR subsumed. I was staying with a friend in a beach house in LA. A friend of ours left her bicycle on the foyer for weeks, raging. I got the idea to take the bike hostage. We tied it up in belts and stuck it in a walk-in closet. My friend put on a crude mask and we shot a hostage video. That night, at midnight, I left a VCR tape of it on her doorstep, knocked on the door, and ran away. Problem solved.
The idea of an underground network that affected change through unmarked tapes—you find a tape on the bench you always go to, you play it, and it’s about you—became an obsession:
the network received a name, JUSTICe, and countless iterations:
I couldn’t progress without actors, and actors cost, a lot. I attempted working with what I had, at first with characters created in Poser:
Then with friends, and masks, the Sapi3n phase:
Until the writing became too complex for the medium:
Eventually I realized that the most advanced communication medium was the writing itself. I needed to return to the craft that had spurned me. And so I began to write.