Kenneth Anger was asked once why does he allow his films to be on video. And the difference, of course, is very big. I was teaching a class of Cooper Union students last year, I do that very seldom, like once every 10 years I teach somewhere, when I really need money because I hate teaching. So I had a session on film various... what happens when you put images on different materials. So I projected side by side, I projected Puce Moment as a film and Puce Moment as a video on side by side. And, of course, Puce Moment is film that has very subtle colour materials, dresses there, and the difference was so incredible that I had nothing to say about... I mean, the video washed out the colours and somebody asked Kenneth why do we allow that. Why do you put your films on video? Actually, the same is with The Inauguration of the Pleasure Dome. He said, 'I don't care; I have never seen how they look on video. I don't care and I will never look at them. All I need is the money'.

Yeah, but poor Kenneth, they swindled him out of... it brought money, he got some but the last $30,000 he never got because Sheldon Rochlin died and 30 for Kenneth would be a lot, got lost between Tokyo and New York and now he has to hire lawyers and try to get it. And, that is... and some films like Maya Deren are OK on... on video. Black and white, some black and white, where there's no single frame activity or Reminiscences and some and Lost, Lost, Lost are, like, OK and my films, I think, do better on video than some other film-makers that work with... I know you like her, Robin Brear, that some of like '69, '67 where it's just the film that those are the titles, that's pure colour and subtle variations of colour that usually does not work. You just see purple rain, nothing works. So it depends. Some work, some don't. Digital, I don't know yet and some cannot be transferred to digital at all.