here's the nye LA report: epic party installation chez trecartin was = POSITIVE VIBES = i have to say despite hype usually undermining fun, it was sooo fun!!! so thought out, so put together and labored over. B12 and free booze and folks just generally all around PSYCHED to be there and be together. seems like a good omen for 11. i even appreciated the decorative art collector echelon, in their cocktail dresses (and i'm remembering tuxedos but they prob weren't), who were perched around atop sofa sculptures by lizzie fitch. why not include them in the fun too? so many amazing artists and friends blood sweat and tearing all week for this event. and then the dramatic swarming LAPD helicopters! swoon. WELL DONE AND DONE.
fb photos by maurice de la falaise - i like NEED to post about ASMAS OUTFIT LOOKING FOR PIC
i also want to talk about (DJ) FATIMA AL QADIR A LOT IN GENERAL
sooo it's the new year and we are STILL EDITING. this has been the most massive humbling experience of my life. sometimes i feel like i'm literally in hell, or like only half of me is in this world and the other half is stuck in a past moment that keeps repeating frame by frame over and over... but other times i'm ecstatic to realize how much progress we are making! ALMOST DONE. EAK EAK.
to summarize: originally when i started out, i thought i was making a film about the silver platter and throwing the wildness party - and i saw those 2 things as TOTALLY SEPARATE. but over time i have come to realize that the only real way to tell the story of the silver platter is through telling the story of how i "discovered" it through doing wildness. a film about the silver platter film alone would have been a more conventional social issue documentary - like an ethnography of "trans immigrant" experience and "real life" issues. and i argue that would be more comfy for a viewer, because it's something you can have some distance from, like a window to a world. why make that movie? d2d. done to death.
i felt way more challenged (in a good way) by the dilemma of having to implicate myself and my friends (and therefore audiences). obviously the idea of "discovering" the bar is a huge problem itself, because it touches on deeper issues of gentrification, exploitation, and even documentary filmmaking in general. so in the movie i try to confront this head-on by premising: "i can't tell you about the history or politics of this place, outside of my own experience of how i collected the information and put it together, and what i wanted to see from it." so i originally thought i was making a like a conceptual trans resistance film, and i find myself now with something that is much closer to the messy unfinished process of my life. but the politics (and the technical demands!) of doing this turned out to be waay harder- so that is why we are STILL EDITING.
nye trecartin pics rebma droflah