far as shaping it really quickly, changing it, changing the meanings, etc. I'm really into editing and I like being able to have that kind of control of my movies. Hu: Gregg, after Mysterious Skin and actually after The Doom Generation , you've had a lot of success. Why did you decide to stick with really difficult projects and not try to sell out like other Asian American filmmakers who have had some success and try to do really bad studio projects. [The audience laughs knowingly.] Why haven't you thought about.... Araki: Are you wussing out here? You're not going to do what you said you were going to do last night? Hu: [Ignoring him blushingly.] Why do you want to stick with making these low-budget independent movies? You obviously would have the ability to make a piece of crap like Annapolis . Araki: I really have nothing against making a bigger movie. I get asked this a lot because I've had so many movies at Sundance and the whole independent cinema thing. Would you ever make a studio movie? Blah blah blah. I don't have anything against making a studio movie. I've been attached to a studio movie with what to me would have been an interesting movie. I don't differentiate between a studio movie and an independent movie. I differentiate more between a bad movie and a good movie. There are good studio movies and bad studio movies and there are good independent movies and bad independent movies.