VUDOO (1976, 5 minutes, 16mm, silent) "I made this film in 1976 as an early stab at considering how a flow of frames passing through a projector might yield an experience of continuity if representation and naturalism were happily out the window. It was based on my then fascination with fractal geometry and the notion of self-similar patterns as one of nature's most ubiquitous underlying structures." -F.W. THE OR CLOUD (2001, 6 minutes, 16mm, b&w, silent) "Adventurous eyeballing then, in the ideal, an epiphanous moment of mutual recognittion and commiseration between energy forms. ‘There is a vibration which exists to enrapture and console us’ (Rilke). I like to think this vibration can be detected streaming out of THE OR CLOUD.” –F.W. IF ONLY (2003, 7 min, 16mm, b&w, silent) HOW THE HELL I RIPPED JACK GOLDSTEIN'S PAINTING IN THE ELEVATOR (1989, 23 minutes, 16mm, b&w, sound) HERE (2005, 11 minutes, DV, color, sound) "HERE is a place, an optical location brought into being through conjuring in order to accommodate a clandestine rendezvous between Sir Laurence Olivier and Georges Méliès." -F.W. EVERYDAY BAD DREAM (2006, 6 minutes, DV) TIME'S ARROW (2007, 11 minutes, DV) New York Premiere! "'Time's arrow' is a term coined by British astronomer Arthur Eddington in 1928 to describe the directionality of time. He cast it as a one-way street aimed into the future. The term has since come to be applied to a plethora of natural processes that are seen to be one-way, which is to say, irreversible." -F.W. AMONGST THE PERSUADED (2004, 23 minutes, DV, color, sound) "The human susceptibility to delusional thinking has, at least, this defining characteristic: easy to spot in others, hard to see in oneself. This film is about us. I believe it's true. See the iron jaws of the mechanism at work as the filmmaker falls into the biggest and most obvious delusion of all: the belief that he can master his own delusions by making a film about them." -F.W.