Marcus Verhagen: You regularly use the format OF THE INTERVIEW IN YOUR WORK, for instance in pieces like The Casting, 2007, and Spielberg's List, 2003. Can you say a bit about how it works for you?
Omer Fast: I don't always start a work with interviews but the interview is one possibility. When I sit at home and have ideas, very often they're contingent on some encounter and on seeing how an idea is activated by people who can start a dialogue with me about it. I've never been happy just making work at home or in the studio--that always feels to me like a navel-gazing pursuit--so there is a collaborative aspect to what I do, and that aspect doesn't necessarily stop with the interview.
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MV: That collaborative dimension is something that your work has in common with other forms of production, like film and TV, and you occasionally refer to reality TV in your use of the confession, for instance, as well as to the news media and, of course, to fictional productions. Can you talk about how you position yourself in relation to those forms?
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