Gordon Nelson is a local Filmmaker who also acts as a Film Curator at the Carnegie Museum of Art and an Adjunct Professor at Pittsburgh Filmmakers. This interview was conducted through e-mail, but I did have a chance to sit down with Gordon and screen three of his films, Apple Kick Film (1994), Frankensteined Film (1997), and Next Door (1999).

Each of the films was under five minutes in length, but Gordon specializes in short films. In Apple Kick Film, Gordon successfully makes a "Film within a Film" by documenting the recording of a man kicking an apple on high speed film. The colors are lush and the snips of on-set dialogue help immerse one into the feel of being "behind the scenes". It's like you're on the set of a major motion picture, but it's just someone kicking an apple.

With Frankensteined Film, Gordon evokes a childhood memory. He overprocessed found footage of a Frankenstein movie, the original I believe, to the point of pixilation; like watching an old black and white movie through lots of static. The music was ominous and foreboding. Gordon said he saw the movie on T.V. as a child and has been fascinated with the monster ever since. This was his way of exploring that memory.

Next Door is shot on video tape. When asked why he chose tape over film, Gordon responded that the lack in picture quality found in videotape seemed to fit the subject matter. That subject was an old, semi-abandoned office building next door to the Pittsburgh Filmmakers facilities. Filmmakers used the building for storage, and Gordon felt it had a creepy spirit, which one felt anytime you entered. This film was an attempt to capture that feeling, and in my opinion, succeeded in spades.

Now, on to the interview.

David: How long have you been involved in the film industry?

Gordon: Since 1991, or 11 years.

David: How were you introduced to the industry?

Gordon: I was fortunate enough to have been offered a technical position at Pittsburgh Filmmakers after "pounding the pavement" and working various non-film jobs after college.

D: What/Who inspired you to direct?

G: Perhaps I should clarify that none of my paid positions in the film business have involved directing a film. I have worked as the Operations Director (Head Techie) at Pittsburgh Filmmakers (where I currently teach) and I am employed as the Film and Video Program Coordinator (a curatorial techie) at the Carnegie Museum of Art. Making films is something I do in my free time because I want to. Many different people and things have inspired me. I find music, art, films, history, science, dreams, nature and many other aspects of life to be equally inspiring.

D: Have you always been involved as a director? If not, what other roles have you performed?

G: When you make films as I do, on a very small scale, with a very limited budget, it becomes necessary to fulfill most of the production roles by myself. Conceiving, shooting, sound recording and editing all become intertwined activities. This style of production gives my work the personal, handmade texture that I seek.

D: What was your first film making experience like?

G: It was incredible. I immediately wanted to tie the camera to a rope, tape the trigger down and throw it from a bridge just to see what it would look like. I decided not to do this with my college film department's camera, but I did do this later after I found a used super-8 camera for two dollars at a flea market. I was really energized by the fact that the camera was a surrogate eye that I could take places where real eyeballs can't or won't go. My first finished film (made in 1985) was a surreal adventure involving fake skeletons and a car. It has since been partially destroyed (by accident).

D: How would you describe your film style?

G: Experimental with occasional elements of narrative and documentary mixed in.

D: Is there a common theme, point, or idea that runs throughout your work?

G: I was recently sizing-up my filmography and realized that some of my films contain a few recurring themes, they are: memories, history, transformation and loss. I didn't set out to explore these themes; I just followed my heart. I have made purely abstract films as well. I do not feel married to any specific theme. I like to intersperse elements of subtle or hidden humor.

D: Have any particular Directors, Artists, or Movements influenced you?

G: Far too many to list here. The underground film movement that happened in the USA, then elsewhere, in the 1960s is always interesting to me. This movement was informed by other great literary and visual art movements of the twentieth century like cubism, futurism, dadaism, constructivism, surrealism, structuralism, minimalism, fluxus, pop art and other "-isms". This "small" film movement truly accelerated the growth of cinema, which is still really just a baby of an art form at about 110 years old. Influences from this magical time, when many filmmakers dared to challenge conventions are deeply imbedded within the current stylistic language of film and television. My personal favorite filmmakers from this era are not household names, but a few whose films I think are worth seeking out are: Kenneth Anger, Stan Brakhage, Hollis Frampton, George Kuchar, Jonas Mekas, Paul Sharits and Michael Snow, to name a few. I feel like I'm not being fair to other filmmakers I love when I make a list like this, but there is just so much out there!

D: Where did you grow up?

G: I was born in Scotland in 1966 and my family immigrated to Irwin, Pennsylvania in the USA when I was 2 years old.

D: Where did you go to school?

G: Edinboro University

D: Have these places influenced your film style?

G: Growing up as a foreigner in a small Pennsylvania town surely had an influence on my personality. Edinboro's film program was tiny, yet amazing when I was there in the 1980's. The lack of resources forced students to use their imaginations. Plus, the program was structured to allow personal filming styles to develop. We didn't just learn to make Hollywood-style narrative film. There was a strong emphasis on experimentation and incorporating other art forms like drawing and painting. At the same time I was able to develop interests in art history, politics and philosophy all while living in a supportive community of other artists.

D: What is the best/worst thing about working in the industry in Pittsburgh?

G: When I think of a film "industry", I can't help but imagine some kind of horrible factory where mediocre films are cranked out like other commercial products such as Cheese Whiz or Mountain Dew. To me, films exist to dazzle the eyes, ears and mind in a quasi-spiritual way. The current lack of opportunity in this area for people with film training seems to be the outcome of a widespread economic situation. It's painfully obvious that a general lack of employment opportunities for young people is a serious problem for Pittsburgh, especially in creative fields. Pittsburgh has a spotty history in terms of consistent film and television production activity that could offer people a long-term income. It is truly unfortunate that many talented filmmakers feel the need to leave this area in search of work where the industry is centered. To be optimistic, local productions seems to come to Pittsburgh in cycles and we are due for another upswing. Pittsburgh is a lovely city that has retained much of its charming old-world character, a feature, along with a photogenic geography and climate that is attractive for location shooting. I think that productions will consider Pittsburgh as long as the region can retain its unique physical appearance. New generic building constructions really destroy the special flavor of this (or any other) area, turning us into "Anytown, USA", which makes us less desirable, and not just for filmmaking. That said, I don't really consider myself a film industry worker, but, in my work for educational and cultural non-profit organizations, I am given an opportunity to contribute to the overall cultural well being of this region, which I find extremely gratifying and feel very fortunate to participate in.

D: What is the best/worst thing about working as an independent filmmaker?

G: When I make films, I consider it play, not work. So there are no bad things for me. Playing is among the more desirable activities in life.

D: How long have you been teaching at Pittsburgh Filmmakers?

G: I have been teaching college level film classes for about 4 years, before that I taught video to high-school students.

D: Why did you decide to teach?

G: I love helping other people. Film is my specialty in life, so it's the best thing I have to offer.

D: Are you currently working on a project?

G: I have a few things nearly ready to emerge at all times.

D: Could you describe it?