Ezra Petronio: So you’ve just screened your latest film, Los Angeles? Sarah Morris: Yes, I showed the film upstairs at White Cube in London and it was very crowded. Then the second night we actually screened it at this cinema called the Prince Charles, which is in Leicester Square. It was really nice to see it in that context as well. Ezra: So those are already two totally different contexts. Sarah: Yeah, completely. Ezra: What does that do for you working in both kinds of contexts? Sarah: Well, of course, ultimately I prefer the art context. But it’s interesting to see the images of the film on that scale. You know that sort of suspension of disbelief when you’re in that entirely black space of a cinema. It’s a completely different thing from seeing it in a gallery. I’m actually submitting it to the Short Film/Documentary category of the Academy Awards. Ezra: Great! Sarah: It’s gonna be pretty funny. I like the idea conceptually of giving the film back to the industry. I also like the idea because usually you have to do a film on something on a very humanitarian level to actually win. Ezra: Exactly. Sarah: This is far too post-modern for them but I like the idea of bringing it back full circle. Ezra: Would that be something you’d like to push further – documentary screenings? Sarah: You see, I don’t view the films as documentary at all! A friend from the Academy, who advised me and helped me a lot, suggested that we apply under this category. He’s basically the one who got us the spot just off the red carpet at the Oscars. We had a spot that not even NBC had! There was no other press with us. We were directly above everybody and people had to walk underneath us. So we had this vantage-point of the celebrities and stars in front of the press, moving and negotiating that space. The person who helped me a lot is Sid Ganis, who is the Vice President of the Academy. He’s a big producer in Hollywood and he has a very interesting history in a way that loops around to earlier films of mine, and this is not coincidental. He produced Bonnie and Clyde and he was involved and played the part of the Washington Post editor in All the President’s Men. You know, he’s someone from that generation. Well this guy is fantastic. He immediately watched all the films, looked at the paintings, called the studio and left this very enthusiastic message that I’m in good hands and he’ll do everything to see that Los Angeles will happen. Now we applied and of course were immediately rejected within
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