http://www.lgoldwynfilms.com/
email: reply@goldwynfilms.com

FP: I think of you as an art chameleon; you've had many connected interests in art and fashion and obviously, you're from a film family dynasty-- from my own experience, I'm not keen on categorizing multi-talented artists, however I'm wondering what is the biggest muse for you at the moment?

LG: I don't have a specific muse- I quite like that I cannot be labeled into a tidy box– I feel most kindred to artists of the Renaissance period, who didn't always fit into specific categories, but experimented with various media depending on what subject matter they were exploring. I am always interested in history, sexuality, science and of course clothing/ textile– so my "muses" can come from anything I am thinking about, looking at, scoring at a vintage store or dreaming of...

FP: I was recently reminded of your filmmaking upon seeing your billboards around Los Angeles. The images are probably the first set of images I've seen in those digital billboards that really feel like they work there. The "Underwater Ballet" imagery is particularly striking. What led you to the Phantom Camera (captures action at 1000 frames per second–normal frame rate is 24 frames per second)? It is amazing to think that yours is the first film to experiment with this technique. How did you come up with the concept for the film? And have you ever considered using the digital billboards themselves as a medium for your art? I have yet to see that done.

LG: My recent short film Underwater Ballet came to me in a dream, in fact, and is closely linked to ideas I was exploring in my personal life. The feeling of alone-ness, floating in the universe, at the same time being connected to all the matter and stars which surround... Finding your place in the ballet of the galaxy... For me it is a mournful, meditative piece–a closure to one chapter and a moment of restlessness, the unknown that awaits...

I wanted to use the phantom camera because I liked the challenge of using such high tech equipment in combination with "low brow" old school vfx technique– the "stars" in the sky are in fact, Alka Seltzer in tanks! Also, when I am told something is not possible, technically or otherwise, I cannot stay away! I love to constantly push my learning curve...

Yes the collaboration with clear channel for the billboards in LA - and also the spectacolor board in Times Square was in fact, public art.

I had been offered a gallery show of the work but I feel strongly about bringing art to the streets/public in general and I felt it was a better avenue to beautify my city in a small way.... I am not interested in making things only a select few can enjoy–I am very happy to be able to reach people that may not have access to or feel comfortable going to a gallery or museum– Art is for the people! **Download Press Release for Times Square PDF

FP: I noticed in your Diary on your site, http://www.lgoldwynfilms.com, you have an entry in regards to the merging of humans with machines. I am wondering if you have ever heard of Donna Haraway's Cyborg Manifesto, on the feminist principal of the same idea. Are you interested in the ideas of future technology and the artist?

LG: I don't know that manifesto. I am always interested in developments in technology, science and virtual reality. A teacher in high school gave me the William Gibson novel Neuromancer to read which helped foster this obsession– I was struck by how a punk poet like Gibson could conceptualize virtual reality without having a computer...

Perhaps it shows that anything is possible! There are no limits to the human imagination!

FP: I first became a fan of your work with the documentary "Pretty Things"--your documentary on the last generation of American 'Burlesque Queens.' It has often been said that unfortunately burlesque is a lost art in a time of instant gratification and celebrity. Although there is a retro homage with artists like Dita von Teese, what do you consider to be our modern equivalent of the burlesque?

LG: Dita is a great friend of mine and I think she does an incredible job of holding the burlesque torch- and with her costumes and stage shows, brings a new level of sophistication to the medium– I also like the work of Trixie Minx, Ava Garter, Immodesty Blaise, Narcissister, the 90s incarnation of the Velvet Hammer– gosh– so many– But remember, the true root of the word burlesque has nothing to do with striptease– the Latin "burlare" implies satire, and so a modern burlesque could quite open to interpretation– from Saturday Night Live to youtube parody...

FP: You have mentioned that your interest in burlesque began when you discovered vintage burlesque costumes in NY...and your work has a sensitivity to fashion and costume. Can you talk a bit about this and whether or not you have ever considered designing clothes?

LG: I make jewelry but I love clothes and admire the craft too much to want to design myself! I have done some limited edition t-shirts for charity. Am currently working on one for LENY icons www.leny-icons.com. The net proceeds from the sales of the Fashion Icon products will be forwarded to Al Gore's The Climate Project.
I would really like to have my own lingerie line though! Bras, stockings, panties, bedroom slippers, gowns and robes– the works!

FP: That would be amazing, I would love to see that line...Who are your greatest influences?

LG: my family my friends my dreams conversations with interesting people keeping an open mind and continuing to learn whatever I can– life is constantly influencing!

FP: What are you currently working on?

LG: a huge multi-media installation in Paris which opens in August - October 2009!

FP: Thank you so much! I can't wait to see what you do next!