be it Gay cinema, be it just regular Sundance independent. Most movie makers are not very good. Hu: But why [is] that? In your opinion have the arts everywhere changed in such a way that artists are just not making that kind of work? Araki: One thing, to rail against the Administration, the cutbacks of arts funding is a huge difference. I know that for me and Jon and I remember talking to Rick Linklater about this, those first grants that you get are so important. They're literally like $5,000, $10,000, but I remember when I got my first grant it was just the validation that you are a filmmaker and your work is supported. They were just so important and that's why it's really sad that arts funding is in such a bad state. As a young filmmaker [grants] are really the push you need. You feel validated that you really are a filmmaker. Hu: There are still funding sources like Creative Capital . That's a really great resource for the no-budget kind of filmmaking. Araki: And Rick has started on his own -- because Rick is now a multi-millionaire -- he's started film grant type organizations in Texas for Texas-based filmmakers. It's unfortunate that [resources] like the NEA and AFI grants have dried up. Hu: Jon, where are you finding resources? Moritsugu: I've actually heavily relied on the grants for my last few movies. My most recent Scumrock [2002] was a Creative Capital grant. I spent my own