Bill: The idea was to do a full length--I think the subject warrants it. It was a strong enough topic, but I don't know if Joe audience member could take the barrage of images at that speed for that length of time. The length that it turned out as a twelve minute film...it plays like a dream. You see a hundred fifty, two hundred images in a short amount of time--you know, our dreams are very quick. This way, it's sort of like this jolt, like, "Wow what was that?" And I like that aspect of it--when the credits are rolling while you're still trying to figure out what you saw.

UD: What led you to film?

Bill: I've been making these baby steps, I guess their huge, I went from painting, to animation, to photography related film, to film with an optical printer, and finally just started my own live action film.

UD: Your working on your first feature, right?

Bill: Yes, it's called Ghost Trip. It doesn't have a conventional script. We bought a Hearse and traveled across country making this film. It was shot in super 16 and we sort of did a combination of trippy landscape stuff and documentary encounters with people we met along the way.

UD: You went in a Hearse?

Bill: Yeah, but it was a good Hearse. It had been somebody's snow boarding vehicle for years. It had a CD player in it and it didn't smell like a Hearse.

UD: I don't really know what a Hearse smells like.

Bill: Formaldehyde or something. There's a certain sterility...

Interview by Kiley Bates

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