All of William S. Burroughs friends pushed it forward and introduced me to one another. I was able to enter into that beat family for a while and document it.

Sundance claimed to be rebellious on all of their programs, but they are not. Most of the movies at Sundance were multi-million dollar pictures that were already guaranteed a theatrical release.

Authors and artists are still afraid of breaking away as far as [William Burroughs] did... And he did it in the 50s!

Slamdance actually is indie and rebellious. Sundance obviously felt threatened.

I picked up On The Road, Howl, and Naked Lunch (in that order) in high school. I was blown away. The writing was amazing and the places it took me was even more far out. It opened up new avenues of thinking for me and so I went down the beaten road.

I like documenting people who can break away from the conformist boring world we are stuck in and either live their life in a much more far out way or create art that critiques it well.

[Allen] Ginsberg totally helped that out. He was the best sales person. He was the most pop. They are still shocking and relevant, especially [William] Burroughs.

I'm really happy I was kicked out of CalArts (for a controversial art piece I made).

I began filmmaking in high school, at the Chicago Academy for the Arts. My first documentary was about a dysfunctional obese middle-aged carpet cleaner named Bill, who lived with his Mom, and his love affair with Anna, a drug-addicted prostitute. I made that when I was 16.

After I got kicked out of CalArts, I moved to Lawrence Kansas where my sister lived. I began working on A William S. Burroughs documentary. I had no idea it would turn into such a big film.