Born in 1936 in Memphis, Tennessee, my father has always chosen the alternative path in life, a path that has brought unpredictable adventures, multiple children with multiple women, brushes with the police and a life-long interest in trying to do some good in the world.
Flash Flaherty,the much-anticipated follow-up volume to The Flaherty: Decades in the Cause of Independent Cinema, offers a people’shistory of the world-renowned Robert Flaherty Film Seminar, an annual event where participants confront and reimagine the creative process surrounding multiple document/documentary forms and modes of the moving image.
I would make a few films that allowed me to “open the door” on a person, group of people or place that I knew little about in order to develop a deeper understanding through my filmmaking. Then, I would turn the camera back on myself and my immediate surroundings to produce more personal, introspective films.
As much I call myself a cinéphile, there are certain times in my filmmaking process — be it the production or post-production phase — when I try not to watch anything that is not going to help me strategize on how to solve a particular obstacle in front of me.
I feel a closeness to writers, poets and painters, much more than to traditional film directors. For one thing, we ciné experimenters are not bound by the plot-driven mechanics of cause and effect that, for me, often bring the transcendent experience of watching a movie to a grinding halt.