Part of creating film and multimedia is that you have the opportunity to work with others. Unlike writing or painting, it is is almost impossible not to. The Viewer, lover of film and media, also has an opportunity to read about, and often communicate with the filmmaker/Artist. People with a passionate vision are always attractive and that is one of the main reasons we started this blog or webzine; to meet these folks who inspire us and WOW us. And ol boy, let me tell you about one James Fotopoulos. No, let him tell you:

Fotopoulos says that he's had to make unspecified choices in life in order to devote himself to the work. He bluntly told another Flaherty attendee that "My purpose is to use this medium to balance my relationship between good and evil." He believes the actual concept of "freedom" is seldom practiced by contemporary artists. Much of it comes from his belief that the freedom to do anything you want can be mistaken for the freedom to do what you think others expect of you. You make certain sacrifices, and modern technology allows you to immerse yourself in a world of your own creation. "The misconception is that I am doing this stuff blindly, doing this stuff with no sense of a continuing progression."
Ray Pride describes some of James' work:

These movies are way behind Fotopoulos' constantly evolving--or mutating--output. Technology makes it possible to shoot an enormous amount of footage, or to produce a large number of works, but the means of distribution hasn't caught up with the means of production. It's strange talking to this young, steadfastly normal-looking and uncommonly assured man about "Migrating Forms," 2000's sinister pseudo-gangster "Back Against the Wall" and 1997's "Zero," a morbid, grating 16mm one-man descent into a sexually obsessive hell. For him, they're the distant past. These early movies take what could be seen as "bad" stylistic practice: a Warhol simplicity or a B-level horror-movie aesthetic to demonstrate sociopathic, illogic or ritual behavior. The soundtracks are filled with droning sounds, or synthesizer loops, making use of the limited, notoriously muddy sonic range of 16mm optical sound. (There's a DVD extra of pages from his notebooks, including one spread where he notes a budget of $550 and has scribbled a reminder to himself to pick up a "gizzard.")

Sujewa notes he's a young fellow and is employed as a full-time Laborer and has just landed a deal to do a 2 Mill. Cop Flick. Go here to view his resume and feel like the laziest Sod about and go here to read another interview. Thanks to Sujewa, Filmmaker Mag, Ray Pride, and James Fotopoulos for the inspiration.