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MacDonald:
What else have you been working on?
Breer:
Well, I've been sawing wood and painting window frames for what seems like years. I have six hundred feet of new material I haven't told anybody about; it hasn't congealed into a film and might never. I play with words on the screen and do some rotoscopingusual techniques, but with a different look maybe. I got interrupted so many times last year in the middle of this film that it might be lost forever. I do have plans to make a new film dealing more with the soundtrack-picture relationship than I have in the past. At least that's my concept now: anything can happen to change my mind. As far as how the future looks: from where I sit it looks compressed. As a little kid, I was told there was a Beyond, but I never got a convincing picture of it. So without a Beyond, I have a kind of trapezoidal vision of eternity. It's like looking at the table I'm sitting at; the table tilts away in perspective, but it's sawed off at the end: it doesn't go to an infinity point. My sense of time compressing does make life a little more savory, though I don't know if it was ever unsavory. Right now I've got a couple of shoe boxes full of index cards and half an urge to go up and fiddle them into a sequence, and I follow my urges pretty much. They don't always take me into doing a film, but I'll return to the euphoria of putting out a work of art because it's a high you can't get any other way that I know of.