A DIALOGUE WITH
PAIGE SMITH
Nov 19, 2023
"I like showing my hand. I both want to make magic for the viewer, and make them be like, “how did she do that?” but also show something about it that feels like, “well, this is how she did it.” If you look long enough, you can figure it out. You know what I mean?"
ON FILMMAKING AS AN UNDERGRADUATE (2020 - 2022)
Sep 11, 2022
"However much I thought I could casually brush off doing any filmmaking for the foreseeable future (especially during confinement) would laughably prove me wrong when after having made the immense intellectual progress I'd undergone, my tendencies to create were justifiably emboldened and reignited with a new and spitting fervor."
ON FILMMAKING AS AN UNDERGRADUATE (2017 - 2019)
Jul 24, 2022
"At the current moment, I feel almost more like I've lapsed from some major traumatic event than successfully completed an educational tract I had longed romanticized of embarking upon when in high school. Perhaps it's an organic reaction, because what truly sets one apart from the other in all actuality."
A DIALOGUE WITH C.W. WINTER
(THE WORKS & DAYS)
Apr 15, 2022
"In the domain of making, we find clarity to be so misvalued, even as we know it will be more widely received, even in art house circles. But here, we preferred something of an untidiness of ideas. Of contradictions and incongruities, of incommensurabilities, of the partial and the unexplained."
TO PROCESS THE MOTION PICTURE
Dec 27, 2020
The following text is an abridged edit of an academic paper written for a film theory class this Fall. My essay's main concern was to identify, illustrate, and hypothesize the place and future of widescale cinematic revolution in an increasingly hostile economic and political climate actively curtailing projects of the such and what small individual attunements could be made to incite change in unmotivated viewing habits.