I wanted to be a painter on my life.

And where I came from in the northwest of the United States, it was unheard of.

I didn't realize that you really could be a painter.

I didn't realize that when you grew up, you could be an artist, because it was totally unheard of. I didn't realize that you really could be a painter. I didn't realize

that when you grew up, you could be an artist, because it was totally unheard of. And I moved to the

East Coast, really, just at the right time, and I met a friend whose father was a painter

who had a studio in Georgetown, and I became crazy. And I had to see a studio, and from then on on I knew it was possible. So when I was

painting away and I went to the Corkman School of Art on weekends in high school and I went

to the Boston Museum School in the Pennsylvania Academy of Fine Arts. But I would make these

paintings and I would sort of hear a sound or something that went with them.

Or I'd want there to be some sort of movement.

There seemed to be a bit more of a story, you know, behind them.

But not a story, but just a little bit of something.

And that's when for an experimental painting and sculpture contest, I made this one-minute film,

which was a loop of film that involved six figures and a soundtrack of a siren.

So for me, cinema is sound and picture moving together in time and sound it's at least half the

cinema it can do so much and I always say there's sound effects like footsteps

then there's abstract sounds that approach music,

and then there's music.

And with those three things, a whole world can be built

that go along or marry to the picture and make a full thing.

I think that for me, I get ideas and I go with those ideas.

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