Sylvie Fleury: You take someone’s photo and then have him put his hand on a sensor, and the machine translates the person’s aura into colors on the screen around the portrait.
Scott Eyman: It offended him on a psychological level and also offended him on a political level.
Fleury: The thing is, I didn’t mean to do him wrong, you know?
Eyman: Yeah. Well, in one sense, it’s like studying ancient Rome in that it’s dead, it’s past.
Fleury: But I was driving a white station wagon with little red crosses on it, as well as collecting objects with red crosses.
•••
Eyman: It’s just there’s no conventional drama to it if you really think about it. I mean, nobody lives, nobody dies.
Fleury: That bothered me slightly, but in the end I thought, “Oh well, it’s fine. Let’s really go for the superficial.”
Eyman: You just throw everything in, look and see what you’ve got.
Fleury: You know, pendulums are very sculptural objects.
Eyman: (laughs) I’d rather write it.
•••
Fleury: There’s something horribly tragic about looking at the cars, because you can’t help thinking, “Maybe someone died in this.”
Eyman: Well, that’s interesting because when all these guys were making movies, Disney was a boutique operation.
Fleury: You know, I tried to make a little movie about vampires once.
Eyman: Basically, that’s what I did. Paramount is in the same situation.
Fleury: They’re like huge vibrators.
—Raymond Cummings has written for Splice Today since 20210.