But it's also fun handling the scene with something that's not score perse, as in a source cue, although a source cue done right can really be scoring the scene as well. With The Velocity Of Gary , a lot of soundtracks now for gay-themed movies fall into the pitfalls of throwing in ABBA, Bee Gees, whoever, and that was a pleasant surprise with Velocity to have something of substance. Do you see gay cinema going anywhere as far, it seems like every summer there are two or three movies that pop up, like Get Real and Edge of Seventeen . I haven't seen the ones you have mentioned. I see it as appealing more to a progressive straight audience.
Sex seem to cater much more to a gay audience.
Velocity is playing Outfest, there are gay scenes in it, but the way that it steps out to me is not a typical gay picture. There are a couple of movies people are talking to me about, but as of yet I have not made my decision as to what my next film will be that I work on. In the meantime I am busy getting as much done on my record projects as I can before I get seduced by the movie industry again. The difference between records and films is when you produce a song you only have to sustain four to seven minutes depending whether it's a radio cut or a club remix, whereas on a movie the amount of care and time that goes in to keeping a film moving and suspended for 90 minutes plus is all encompassing. When it's right, it's a magical suspension bridge that floats in thin air.