The paintings are improvised covers of past paintings, film scenes and suggested subjects by portrayed persons, among other things... There is a bridge I have perceived—from Giotto to Antonioni, from Bacon to Haneke, from Vuillard to Ozu—where the framing, light, and psychology that certain paintings have translate back to film and vice versa. To me, historical paintings and film are like still life: they are available and present in my life. Both are more real than our political reality for their catalysts actually confront their protagonists, where as in real life we rarely meet the forces that control much of our existence. Reality is flimsy. I am trying to find more real realities. I relive the frames, like Gena Rowlands relives a role, or Tina Turner covers a Sly song. Through the process, I have confronted forces I couldn’t meet on the street, or anywhere; I learn answers to questions I could not even ask; I have participated in stories I could never have been a part of.