An Interview with Alfredo Salvatore Arcilesi, Director of In Fear of's Mnemophobia: Fear of Memories

by Mike Haberfelner

April 2013

Films directed by Alfredo Salvatore Arcilesi on (re)Search my Trash

Mnemophobia: Fear of Memories, your episode of In Fear of's upcominmg second season - in a few words, what will it be about?

A great question! I haven’t decided upon my logline yet, so I’ll take this opportunity to try it on for size:

Through the course of more than five decades, Mnemophobia: Fear of Memories follows the lives of mother and daughter Eloise and Emma who experience tender and sinister memories, respectively, of their deceased husband/father.

How did you get involved with the project to begin with?

Well, I’ll begin by saying that it never ceases to amaze me at how things happen and how people meet people, not to mention how small the world really is. I told this story when I was up on stage at the 2nd Macabre Faire Film Festival after being announced the recipient of the Best Screenplay Award for a Short Film. Now, for me, it wasn’t about the award, but the chance to share with others at the event the path that lead me to the mic to tell this very story: I used to work for this supermarket in Toronto back in 2006. I had a friend of mine who constantly, enthusiastically asked me about the films I was only dreaming of making. So much so was his enthusiasm that he followed me into the men’s room to continue his interrogation. I’m standing at the urinal while he’s chirping, and I believe it was he – it must’ve been him, I was too busy concentrating on "business" – that blurted out the word "film." Suddenly, the stall door opens and out comes this young guy. He looks at me and asks quietly, "So… you make films?" That young guy was none other than Toronto filmmaker Steven Cerritos, a good friend and collaborator whom I’ve spoken to since our interesting first meeting.

Steven and I would – and still do – keep each other informed about all things film, and one of those things was Rogue Cinema, an online film review magazine. I was frustrated that I couldn’t get a review for any of my films at the time, and Steven had come into contact with Rogue Cinema founder Duane L. Martin. I sent my fourth film Reverie Three to Duane, and after my first ever review, I added Duane on Facebook where we would have long-winded conversations about film. 

Flash forward to 2012 and I forwarded For Clearer Skies to Duane. He then told me that For Clearer Skies might be good for a film festival in Kentucky, and that I should contact the organizer who was featured on Rogue Cinema’s front page.

There, I found The River City Festival of Films in Owensboro and contacted organizer P.J. Starks who encouraged me to submit For Clearer Skies. A few months later, the film was screened at the festival in November 2012. A couple of weeks after that, P.J. told me that "a lady in New Jersey is looking for films that are horror and sci-fi, and I think that For Clearer Skies would be a good fit." Naturally, I was very interested. He forwarded me her contact info and I sent her the first of what would turn out to be thousands of messages.

Elsie – or LC Macabre – founder of the Macabre Faire Film Festival, among many other events, and I became fast friends, sharing our passion for film and the arts. Two months later, and it was January 2013: the 2nd Macabre Faire Film Festival.

Now, I always, always, ALWAYS tell filmmakers that if you can make it out to a film festival, especially one in which your film is playing, then go! Otherwise, your film is played to what is usually a small audience, they applaud if you’re lucky, and then they move on. On the other hand, if you do attend, then you get to meet people, and as I always say, networking is a filmmaker’s survival. Being at the 2nd Macabre Faire not only put a lovely voice to the lovely face of Elsie, but to her entire team, such as the talented man of many looks and voices, and Elsie’s husband, Adam Ginsberg [Elsie and Adam Ginsberg interview - click here]; Scott W. Perry [Scott W. Perry interview - click here] who, funny enough, I only spoke very briefly with, but we can’t seem to not have anything to talk about online; and Steven-Mark Glassner, one of the festival’s judges (I had never met someone like Steven who rivaled my mom in the area of support of my work). Steven was a big fan of For Clearer Skies and had told me to check out the screening of his series In Fear Of. And so I did. I enjoyed the concept, and that was when Steven took the extra step and asked me if I’d be interested in directing an episode down the line. And here we are.

A fun little note is that Steven Cerritos, "The Man in the Stall Who Began It All", will be screening his film at the 3rd Macabre Faire Film Festival in May/June 2013. Good karma at its finest.

And, for the record, my speech on stage wasn’t this long; Elsie would’ve killed me!

How can you relate to the fear in question, Mnemophobia - and related to that, some personal fears of yours?

We all have demons and we all have angels. Naturally, we remember the bad times because they’ve not only affected us negatively, but also because we tend to keep them at bay so that, hopefully, we don’t repeat whatever it was that caused us that pain, but that’s how that bad memory is allowed to live on. On that other hand, we remember the good times which are often linked to bad times; for example, we remember a loved one (good) because they’ve passed on (bad). But good and bad is subjective.

Mnemophobia is an interesting phobia in that it isn’t just about fearing what we remember, but fearing not being able to remember one’s memories. There are many memories that I would be more than happy to forget, while there are many memories that I wish I could remember, and I know that they’re all tucked away

somewhere safely.

Anything you can tell us about your intended cast yet?

When series creators/producers Scott W. Perry and Steven-Mark Glassner first told me that Macabre Faire Film Festival founder Elsie Ginsberg and her husband Adam [Elsie and Adam Ginsberg interview - click here] were both set to star in Mnemophobia, I was very excited. But apparently I wasn’t as excited as Elsie who, well… she can tell you if she wants to, haha!

Originally, the episode was written by Scott (I believe), however, after Steven read Yellow Brick Road, a feature script I had penned, an epic dark modern fantasy rendition of The Wizard of Oz, they decided to let me hold the pen. In so doing, I expanded the cast by three, resulting in a casting call, which is presently out.

How do you intend to approach your story from a directorial point of view?

Much like I do with each project I’ve helmed. I try to figure out a way to complicate my story, which subsequently complicates the shooting style, but all in a very good way. I find that if something’s too easy, then it might not be good enough, or challenging enough, or effective. I consider what my story is, what the theme or themes are, and develop a visual language that will support that overall vision. For instance, my first feature film, Snow Angel, is about a man who climbed a ladder at work, fell, and became paralyzed. The story then followed the next seven days of his life on the ground with nobody around to help him. Knowing the story and its themes of restriction/confinement, survival, and so on, I decided to film his entire escapade from a single angle throughout the duration of the film. If he couldn’t move, then my camera couldn’t move. It placed the audience directly in his shoes and tested their own patience and endurance, or lack thereof, and allowed people to discover themselves through him.

Overall, I’m here to offer you an experience, not a spectacle, and I’ll be aiming to do the same with Mnemophobia.

As we speak, your short For Clearer Skies has just been released, right? You have to talk about that one for a bit?

For Clearer Skies is the seventh short film, eight film overall, under Arcilesi Films. Its conception came a couple of months after I filmed Snow Angel. Interestingly, I felt much like the paralyzed man in Snow Angel in that I paralyzed other aspects of my creativity to make that film come to life, solely catering to its needs. With For Clearer Skies, I was able to do the complete opposite. I was able to tap into my boyhood interests of science fiction and the possibility of aliens. I was able to allow my camera to break free and move around once again. I was able to make a film that involved practical special makeup effects as well as digital visual effects, both of which were firsts for me.

I casted the very talented Charles Lo Manto and equally talented and beautiful Kelly-Marie Murtha, both of whom starred in Snow Angel (I think that Charlie was happy to move around in this one, haha!). The film boasted more than twenty-five lines of original alien dialogue, as I didn’t want to resort to having my characters speak English and then manipulate their voices later on, say, by reversing the dialogue; their lips simply wouldn’t sync, so it was never a consideration. I wanted something organic, something native to the alien characters, something challenging for Charlie and Kelly to chew on; thus, an entire, consistent language was created.

The film is comprised of only six shots, two of which are four and six minutes in length, respectively. The main decision for that style was simply to underscore the instability of the characters’ situation, to give a more "documented" feel to the environment, not to mention that it allowed Charlie and Kelly a chance to play and NOT to hide their new knack for alien dialogue in cuts.

Presently, For Clearer Skies has played at eleven film festivals in Canada and the U.S. and has won three awards (Best Screenplay, Best Sci-Fi, and an Audience Choice Award). Charles Lo Manto is currently up for a Best Actor Award at the Vaughan Film Festival here in Toronto, Canada, which I’m very excited and happy about as he’s put so much time, effort, and skill into this film. Without him and Kelly, there would be no clear sky for this film.

What were your inspirations writing it?

I was and still am a kid. And the same goes for my brother and cousin. We enjoy watching sci-fi films as well as horror films. I cannot tell you how many times we’d watch, say, a zombie film and criticized the stupid decisions characters made. Of course, as an audience member, we have all the answer, right? Heck, my cousin even started the (four-member strong, haha!) ZIPO: Zombie Invasion Protection Organization Facebok Page. We’re still recruiting, by the way!

Two of my all-time favourite films are Cloverfield and District 9. I get a kick out of thinking about what it would be like if a giant alien crashed through Toronto and what I would do in that situation. On the other hand, District 9 offers such a unique and real-life glimpse of what it can very well be like if we were to be visited or "invaded" by aliens. For Clearer Skies definitely borrows from the latter. So, the film was borne out of boyish speculation and a chance to play with giant-sized Lego, so to speak, allowing me a chance to build and create a (Lego) set I would want to be part of. There’s nothing better than rubbing shoulders with a live version of the very thing you created on paper!

How did you get into filmmaking in the first place, and did you receive any kind of formal training on the subject?

As I said earlier, mnemophobia is an interesting phobia in that it isn’t just about fearing what we remember, but fearing not being able to remember one’s memories. One of those memories that I do fear losing are, in fact, the several that I have of my grandfather and I watching movies together when I was a child.

A lot of what I do today is a reflection of him. He has a massive collection, much like my own 1,600+ DVD library, of VHS and even Beta tapes (he even still has the large, brown leather-bound Zenith Beta player on top of his TV). I pretty much grew up at my grandfather’s house, and being there so often, I used to rummage through and discover all sorts of movies. But there will always be three films that hold a special place in my heart, the three films that set me on my way: Hook, Terminator 2: Judgment Day, and Who Framed Roger Rabbit?

For some reason, I took to those films and watched them religiously. And is still amazes me at how wrong I was about most of the dialogue that the characters were speaking; and that all goes towards being a child and replacing the things that you don’t understand. Yet, the films haven’t lost their magic for me because when I do revisit them, I remember not only what I thought the characters were saying when I watched them as a child, but who I was with – my grandfather. And those memories forever keep me a child. The

name Arcilesi Films is a tribute to my grandfather, not to mention the use of his name Salvatore as my middle name.

But I did have an affinity for storytelling. I had a fondness for books, particularly R.L. Stine’s Goosebumps series. I’ll never forget a teacher at my elementary school arguing with my mom about how I wasn’t allowed to order Goosebumps books through our reading program because they were "too violent", and me in my tiny, defiant voice declaring, "but the boy turns into a bee, how could that be violent?" Funny enough, that

book was Why I’m Afraid of Bees #17 (my lucky number!).

A short while later, I went to the first annual Screemers, a horror-themed park that comes out here in Toronto during the two weeks leading up to Halloween. I was kind of scared, but mostly intrigued by the image of this screaming demon/vampire thing and used that and my love of Goosebumps as foundation for my own writing series. It was around that time that I was building Lego Titanics and CN Tower’s and pretending that something was attacking them. And the Jurassic Park Lego set was definitely another inspiration as it allowed me to create my own Jurassic Park movies.

When I was fifteen, my brother and his friend decided to start a band. My brother was supposed to be a drummer, though he never played or touched any drums in his life. So seeing it as how I never played or touched drums in my life, I formed my own band, which I named False Godz (not quite a hit with my Catholic school). For the next two years, I wrote all of the lyrics for our songs. Sensing that the band was fledgling, I

started to learn how to play the piano, and once the band finally went under, I took the lyrics I had written and what few piano notes I had learned, and started to translate those lyrics and music into short scripts/films. Being heavily into music at the time, I picked up a copy of The Marshall Mathers LP, and upon hearing tracks like Stan and Kim for the first time, I was utterly amazed at Eminem’s strength in lyrical storytelling; the passion, the "love", the hate! His writing showed me the possibilities of expression.

I’d also go online and search for scriptwriting tips, and that’s pretty much how I taught myself scriptwriting until I went to university for only three weeks. Why three weeks?

Well, let’s just say that administrators aren’t as keen an observer as an artist might be and I apparently I wasn’t in the right film program.

And how I knew I was really meant for film was when I literally had my own movie moment. I was standing on a subway platform; the north train led to the University of Ill Administrators while the south train led to Trebas Institute, a private film school in Toronto. After the coming-of-age, moment-of-truth soundtrack played in my head, I boarded the south train.

But film school wasn’t the answer, either. Indeed, I learned quite a bit, but I also learned a lot about people and about life. I learned that I was an eighteen-year-old kid whose next natural educational step was to go into a post-secondary institution of some sort, while others around him were in much different life situations. I mean this as no disrespect to my former fellow classmates, but I believe I’m one of the only students who continued to make films after tossing that graduation cap into the air (I actually didn’t have a graduation cap!). I say this only because I didn’t have anyone after graduation to grow with, and that also had a lot to do with where I was in life.

I attempted to make a feature film, but failed. I attempted to make another feature, but failed again. I was ready to quit (and there have been many, many times where I’ve felt that way, which, I believe, is a natural reaction when you love something so much. I had a teacher who once said, "sometimes when you say ‘I hate you’, you’re really saying ‘I love you’", and that’s how I feel about filmmaking at times).

But then three things happened: 1. My good friend and actor Kevin Carroll; 2. My mom told me about On the Lot, a filmmaker version of American Idol; and 3. My uncle bought a pool table. Since I was flirting with the idea of leaving film, Kevin called me up for a sub sandwich and told me that I was making a mistake. Literally the next day, my mom told me that Steven Spielberg was involved with this show called On the Lot and that they were looking for new filmmakers. To enter, I had to make a five-minute film. I knew that my uncle had just bought a pool table and wanted to write something that involved a pool table. Thus, the very first film from Arcilesi Films, Game of Life, was born, starring Kevin Carroll (and my uncle’s pool table). We didn’t make the program, but now we had a film that started to play festivals. And we were on our way…

What can you tell us about your filmwork prior to Mnemophobia: Fear of Memories and For Clearer Skies?

I’ve been on my own Y ellow Brick Road, that much is certain. Game of Life, I’ve always felt, is an apt title for a first film as it’s certainly a game that we all play; I know I certainly have and still continue to do so. Game of Life is a special film to me not just because it was my first, but because I can’t help but go back to that

place and time at the back of my uncle’s auto body shop (where I set most of my films) on that snowy Sunday back in January 2007, when it was just myself, Kevin Carroll and Alino Giraldi, and how I didn’t know anybody and nobody knew me. And now here I am speaking with you; it just goes to show how a seed can be planted and blossom into something more. Game of Life centers around twin brothers Cameron and Cal who play a game of pool to decide who will live and who will die in a world of overpopulation.

Roadside Florist was my sophomore film. I expanded in length and scope in comparison to Game of Life in that I needed extra help, and by extra help I mean that I had one production assistant. Roadside Florist follows Graham Wool, a modern day hermit who, for twenty years, has been laying flowers on the sites of drinking and driving accidents to honour those who have perished, but one day meets a family member of one of those he’s commemorated.

Scent of Rosemary is when people started to pay attention. I lost a few friends because of the film’s contents. Since it dealt with a very raw and intimate story of pedophilia, I feel that those who stopped talking to me had done so because they thought that because I joke around and am easy-going that that was the type of film I’d make. Wrong! I save my drama for my film, but that doesn’t necessarily mean that I AM the characters in my film. I casted Steven L. Bird, who was the lead in Roadside Florist and showed off his range by playing someone completely the opposite of his previous flower-setting self, and Patrick B. Smith, whose broken arm actually added to our film. The lead character, Lawrence, was the most difficult to cast because of the level of conflict he endures, among other aspects. The script tested a lot of "actors", or at least the ones who claimed, "I can play anything," but then said, "I won’t play that." (Their accepting the script

before reading it and then declination after reading it always reminded me of the lyrics from the Meatloaf song I Would Do Anything For Love.) But one ACTOR was mature and understanding enough to embody Lawrence, and marking the first collaboration of – presently – five films, I cast Robert Nolan [Robert Nolan interview - click here], Toronto’s very own indie star. I am very proud to say that after four years, Scent of Rosemary will have its World Premiere at the 3rd Macabre Faire Film Festival in Long Island. Scent of Rosemary follows Lawrence, a one-time child sex offender, as he searches for his young daughter who was adopted during his stint in prison.

Reverie Three was the first film that won any sort of accolades and has won at each festival it has played. I know this is going to sound like the cliché, artsy director thing to say, but I truly do not make films for the awards. I simply say this because when the first award was announced, there were a few people who started to treat me differently; some were jealous, some were curious as to how it won, some were genuinely supportive, and most just don’t give a shit! So you can’t ever get lost in the hype – good or bad – and lose your way. Reverie Three also saw the first time that I experimented with long, continuous takes which seem to have become a trademark. Obviously, I didn’t invent the film style, but I enjoy employing it as a means of tension, among other things. Reverie Three follows Foster, an adoptive child who grows up to resent and seek revenge upon his adoptive parents and their blood son in a very unique way.

God’s Acre is the little baby of the bunch. It was made as part of the 2009 Toronto Film Race. I had never thought of participating in an event where one had to make a film in 24 hours, but after a friend of mine suggested it, I decided to give it a shot. Plus, I was bored. For those who don’t know how it works, here goes. Filmmaking teams of all skillsets comprised of any size are challenged to make a film in 24 hours. To keep things fair, all teams are sent an email containing the theme and the prop or action that they must include in their films. The only things you can do up until that email is sent is assemble your cast and crew, your location(s), your gear, and whatever else you think you’ll need. Once you’re notified, you’ve got 24 hours to make your film. Now, most people treat this type of event – and there are a lot of them around the world – as a way to have fun, to be creative, and also to goof off. Most people make comedies. I know that some felt I should’ve made a comedy and that this competition was a good time to branch out into something funny as comedies seemed to be the winning type of film, but I believed that our drama would come out on top. 24 hours later, and with our theme being "revenge" and the prop/action being "spraying a perfume/cologne bottle", God’s Acre was made. One week later, God’s Acre screened in front of 300 people. We were film #29 out of 30. Of course, the majority of the first 28 films were comedies. So everyone’s laughing and having a good time, and then my melodrama fades in. And the laughing stopped. But I didn’t care. Some time passed and it was announced that God’s Acre had won five awards. Seems tears can compete among the laughter. I would go on to help organize the 2010 film race and judge the 2012 film race, and God’s Acre would go on to screen at eight other film festivals, including the upcoming 3rd Macabre Faire Film Festival. God’s Acre observes a religious man’s interview, one that will justify or condemn his life’s actions.

Lavender Fields is the first time that I wrote anything outside of my comfort zone in that I employed the use of ASL (American Sign Language). I wanted to play with language and communication as well as time. With the help of actress and ASL Coach, Elizabeth Morris, who trained both Robert Nolan and Kelly-Marie Murtha, we ended up with the bittersweet Lavender Fields, a tale about a husband and wife who are suffering after the loss of their unborn child.

Snow Angel marked my first feature film. As I mentioned above, it was a chance for me to offer not only an acting experience for Charles Lo Manto, but also a film experience for the audience. The film was shot in two days. The first day was dedicated to all of the paralysis scenes. Charlie was as dedicated and as brave as they come. He spent what must’ve been four to six consecutive hours laying on a freezing, dirty auto body shop ground – topless! – unable to move. We surrounded him with heaters and blankets, and anything we could find to keep him warm. Almost the entire film was improvised, as I didn’t feel it was authentic scripting a man’s struggle of paralysis. Each scene was exactly three minutes long and uncut, and most of what you see and hear from Charlie is genuine. As I expected, and because of the nature of the film, Snow Angel played at only one festival. I had shown it to several people who thought that I didn’t know what the hell it was that I was doing in terms of its style, and so they dismissed it as a rookie error that a director would make on his first feature. Wrong! Their feelings of boredom, anger, impatience, and so on were all spot on. Essentially, they felt exactly what Charlie’s character was going through, and, once again, it was the experience that I was offering them and so it was the experience that they received.

Any future projects you'd like to share?

Canswer, a minimalist, cross-genre tale of two people stranded on a rooftop in the midst of a pandemic, is my second feature film that is currently in postproduction and should be coming out shortly. This film has been the absolute best experience I’ve had in my life. The idea hit me after an interesting and intense 2012 New Year’s experience. I had filmed every inch of my uncle’s auto body shop, but hadn’t yet tackled the rooftop, so I figured that it was time to rectify that. The film has "zombie" elements in it, and what started out as just a few friends and family dressing up as "zombies" turned out to be a full-fledged event called "GET INFECTED!" And since it landed on Mother’s Day, it was affectionately, unofficially dubbed "Zombie Mombie Day". My team and I also just came off of a successful fundraiser called "fundRAISING THE DEAD" that saw a live show of musicians, comedians, teaser trailers, and some pretty cool raffle prizes.

While on the set of Canswer, I also met my ex-girlfriend who indirectly inspired an epic feature script called Yellow Brick Road, an epic dark modern fantasy rendition of The Wizard of Oz. The 1939 classic has always been a favourite of mine. When I finally bought it on DVD, I was watching it late at night thinking, "Man, Dorothy’s really in a fucked up situation." And thinking about what it would be like if she and her friends and her enemies would be like in our real world started to get me excited about the possibilities. 79 days later, and the epic was written, complete with homages, tributes, and a whole bunch of neat little secrets and trivia embedded into the script. Luckily, thankfully, readers have been praising the material, even going so far as to say that I’m doing for The Wizard of Oz what Christopher Nolan did for Batman, which is a very heavy weight to carry - so with all of that added-on pressure, I can only hope that we can start laying some yellow bricks of our own.

How would you describe yourself as a director?

I’ll hold your hand so that you can take your first few steps, but I will let go and allow you to fall and pick yourself back up. I’m not here to spoon feed anyone – collaborators and audiences alike. I’m very interested in the people that I work with. To me, they’re more than just an actor or the sound recordist. I’m interested in who they are, what makes them tick, their likes, dislikes; I’ve even gone so far as to ask them why it is that

they are truly doing what they are doing, especially my film. I know that if I’m making films about people for people, then I want to know about them. It’s a personal joy to have little, private, fleeting conversations with my cast and crew on and off the set.

Seeing those classic stills of legendary actors and directors having private, candid moments mean the most to me. I thrive upon "love" – and I’ve quoted that word for personal reasons – and hate, and I bring both to each story. I challenge someone whether it’s through an alien language or the American Sign Language, whether it’s by having them lay on a frigid ground for six hours without a muscle moved or by having them perform a 13-minute monologue in a continuous take. And while these may not be the most innovative techniques or what have you, they are the tools that I need and use to create an experience for them and the

audience.

And as I’ve said earlier, I’m here to offer you an experience and not a spectacle, although, in truth, sometimes a spectacle is the experience. I want my cast and crew and the audience to feel or have felt something.

A tear, a laugh… those are the laurels for me.

Filmmakers who inspire you?

Pier Paolo Pasolini (Salo, or the 120 Days of Sodom), Alexsandr Sokurov (Russian Ark), and Gaspar Noe (Irreversible) are just three of the directors who inspire me. I won’t get into the specific reasons why, but I will say that if you even start to check out the three films I’ve mentioned, then you’ll not only begin to gauge my own work, but you will see what films can really say and do, and what power they can have. Experience for yourself!

Your favourite movies?

I remember sitting on the couch with my father when I was a child. He’d pop in a VHS – one of two – from this black box. The tape would start to play and I remember always being instantly bored. He would play this film all the time! And not just the first one, but the second, and the third.

When I attended Trebas Institute in 2004, one of the instructors announced to the class that we’d be watching the first of this trilogy. It was something that I wasn’t looking forward to. Yet, as that iconic title card with the marionette hand and strings faded in, followed by nearly 30 minutes of a Sicilian wedding that closely resembled those celebrated by my family, I fell in love with The Godfather. And while I can definitely write a book about my "love" of The Godfather trilogy, I will only say that I am always in awe when we reach what I feel to be The Scene that sums up the entire saga: when Michael Corleone falls to his knees and lets out the most angstdriven scream of his entire life, but no sound comes out… I can’t help but think of

everything that he has been through. And those are the films that I enjoy and want to make, one where a viewer can think back to the first minute of where it all began.

... and of course, films you really deplore?

The ones where when I’m sitting nice and comfy in the theatre with a hot bag of popcorn, and the teaser trailer for a film comes on, and I freeze mid-popcorn bite and say, "That was my idea!"

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And I sincerely thank you in advance for visiting…

Anything else you are dying to mention and I have merely forgotten to ask?

I simply want to thank everyone who has supported Arcilesi Films through all of the years. Without you guys, my family and friends – and I’d like to think that my collaborators live under that umbrella – none of what I do could be made possible.

I want to thank Scott W. Perry [Scott W. Perry interview - click here] and Steven-Mark Glassner for reaching out and taking a chance on me, and for connecting me with Search My Trash for what has been an awesome correspondence.

I also want to thank my enemies and everyone who did me wrong. Without them, there are no obstacles to overcome.

I especially want to thank a particular person who has given me the quotation marks I needed to wrap around what they proved to me to just be a word – "love" – and for inspiring so much anger. Both are fuel for creativity, so thank you…

Thanks for the interview!

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