WHEN PEOPLE ASK ME IF I DO STILLS I DON’T KNOW WHAT TO SAY. OF COURSE? NO? NOT IN THE WAY YOU MEAN? MAYBE IN THE WAY YOU MEAN? NOT IN THE WAY YOU’RE USED TO? NOT IN THE WAY THAT IS RIDICULOUS AND WASTEFUL AND UNNECESSARY* (*NOTE I TEND TO DRAMATIZE FOR COMEDIC IMPACT AND HOLDING ATTENTION]. OF COURSE I SHOOT STILLS. I SHOOT 24 STILLS PER SECOND. SOMETIMES LESS. SOMETIMES MORE. I LIKE THE MOMENTS IN BETWEEN. SO I KEEP ROLLING. I OFTEN USE EVERY FRAME I’VE SHOT, AND EACH ONE IS DIFFERENT. I SHOOT CONTINUOUSLY. I SHOOT CONTINUOUSLY TO GET THE SHOT. I SHOOT CONTINUOUSLY TO GET THE SHOTS. I GET THE SHOTS. ISN’T IT BEAUTIFUL TO SEE MOTION FROZEN IN TIME, LIGHT CAPTURED SWISHING PAST THE LENS, GRAIN MARKING ITSELF ON CELLULOID LIKE A PAINTERLY STROKE? I’M OBSESSED WITH IT. ANYWAYS, YES, I DO STILLS. STILLS THAT DEVOUR YOU. THAT YOU MELT INTO. THE CREVICES BETWEEN GRAIN AND PIXELS THAT YOU DON’T LIKE TO LOOK IN THE EYE BECOME VISCOUS HERE, SWALLOWING YOU IN. COLORS BECOME ONE AND EVERY SIMULTANEOUSLY; LIGHTNESS AND DARKESS NOT FLIPSIDES OF THE SAME COIN BUT THE COIN ENTIRELY, MORPHED INTO A SPHERE WITH NO FLAT EDGES.

ON THE OTHER HAND I ALSO SHOOT SNAPSHOTS. I DON’T THINK OF THIS AS A STILLS PRACTICE, THOUGH. TO ME, THIS IS DOCUMENTARY. IT IS REACTION. IT IS SPEED. IT IS MEMORY. IT IS COLLECTIVE. IT IS MARKING SOME THING SOME WHERE SOME TIME TO HOLD. THESE PICTURES ARE NOT STILLS. THEY ARE FRAGMENTS OF LIFE THAT HAVE NOTHING TO DO WITH ME OTHER THAN THAT I SAW THEM. WE CAN TALK ABOUT THE CHOICE TO PUSH THE BUTTON OR NOT ANOTHER TIME.