Word: da
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...DA: It's interesting because that film is about a TV junkie, and Sarah Goldfarb is a TV junkie in this film, and sort of an addict dealing with real sex and real violence. Stylistically I've always been interested in fusing, in the idea of filmmaking that when you're walking down the street, you're not really just walking down the street, you're thinking about the conversation you had three hours ago, or you're thinking about the vacation you're going to take with your best friend in two weeks, and your mind is drifting...
...DA: I couldn't pass any other classes at Harvard besides filmmaking. No, I was a Social Studies major, and I worked my ass off. But I realized I wasn't meant to write papers, so I switched to Social Anthropology, which is an easy major, because I didn't have the balls to tell my parents I wanted to be an arts and crafts major. Because that's what they would call it, even though I think it's one of the best departments at Harvard, the VES department, at least it was when I was there. I applied...
...DA: Hip-hop montage comes from growing up in the '80s in Brooklyn with hip-hop culture. There was hip-hop art, hip-hop music, rap, dance, break. And there were films about hip-hop, but there wasn't really hip-hop techniques used in filmmaking. I wanted to try and apply that to narrative filmmaking, to sample images with sounds, and with that you could advance the story very quickly. It really works well in Requiem, because it's detailing something that's obsessive, an addiction, and it's repetitive...
...DA: I was never interested in making a drug movie. A lot of people were saying "Why are you making a drug movie?" and I say "It's not a drug movie." What makes this film interesting for me to tell was the Sara Goldfarb story, this counterpoint that says here is a traditional drug story of Harry, Tyrone, and Marion that we've seen before, but the Sara story we've never seen before. What it shows us is that anything can be a drug; it doesn't have to be heroin. It could be TV, it could...
...mistake. Find ourselves at the Crystal Ballroom, one of the last true bum bars on the Bowery, where a slumming uptown bartender has finagled a cheap P.A. and convinced some downtown bands to play. We switch to the gin I have in a hip flask. Kim, lead singer of Da Willys, throws herself to the floor in the middle of a an uptempo version of "Last Train to Clarksville". She moves out into the audience - still clutching the microphone, still singing - on her hands and knees. I look down and she?s crawling between my legs...