A Quote by Wilson Cruz
When I was first starting out in the industry in the early '90s, gay love stories were relegated to limited-release films that were hidden deep in the back of Blockbuster video stores.
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Radio Shack is meeting the fate of many other stores that were wildly popular in the twentieth century, including record stores, comic book stores, bookstores and video stores.
When I first came up, the whole AIDS epidemic was starting, and the gay community that I experienced from the beginning of my career was mostly - and overwhelmingly - concerned with staying alive. And, also, I felt really aware of the preciousness of life and time. The gay community and people who were HIV-positive were treated so badly, and I was very disturbed by things. But I also saw a lot of love and connection in the gay community at that time.
The story of our band is that we were this relentless touring band in those early years. We were leaving day jobs and going off on the road and having fun and seeing the country for the first time. We were playing Chinese restaurants and basements and record stores and houses. We were crashing on floors and it was all new and exciting. It was like a vacation. It didn't feel like work. I couldn't wait to go on tour back then. I would be sitting at my day job or my apartment, just itching to go. There were so many adventures that were about to happen.
Like leggings, comedies created by women came into vogue in the late 1980s, exploded in the early '90s, went mainstream in the mid-'90s, and were shoved into the back of the closet around 1997.
The '90s were a party, I mean definitely maybe not for the grunge movement, but people were partying harder in the '90s than they were in the '80s. The '90s was Ecstasy, the '80s was yuppies. There was that whole Ecstasy culture. People were having a pretty good time in the '90s.
In the early '90s, when those little art films started coming out, we were introduced to Quentin Tarantino and guys like that, and independent cinema was something that everyone wanted to be a part of.
People have come up and told me they were WCW fans from the early '90s, or they were watching my work in FCW when I first started in the late '80s, and they'll spit out a match of mine that they still remember. I stand there in awe, shocked that someone still remembers.
Businesses which were slow to recognize the power of the Internet in the mid '90s were quickly left behind. For example, Blockbuster failed to innovate with streaming technology and filed for Chapter 11 bankruptcy in 2010.
When I first started playing at Norwich, West Brom were in the Championship, got promoted, got relegated, got promoted, got relegated, and all the time, they were building until they eventually stayed up.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
The ball scene was never really only gay people. I think people have this notion that if there's a man hanging around a gay man, he must be gay, but that's just stigma. Back in the day, it was the same; there were lots of different people there: gay, straight, whatever. They did not care what they were called because they knew who they were.
For me, the stamp that I impose on stuff comes from the fact that in the '80s, when I was starting to write movies, I looked back to the '70s. So the films I enjoyed as a kid were the thrillers that came out of the '70s. Back then, you didn't have action movies; you had adventure films or thrillers.
Eudora Welty's 'A Curtain of Green' had an enormous effect on me. But my early attempts to graft stories from the Deep South onto North of England provincialism were not successful. All were rejected.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
My friend Phil Morrison directed a lot of my favorite videos back in the mid- to late-90s - all the Yo La Tengo videos that were funny, a Juliana Hatfield video. He was such an influence with me, and I wanted to do a video the way Phil used to do videos. I did that for Phil.
Early on, after gay liberation, there was an almost Stalinist pressure from gay critics and even gay readers to write about positive role models. We were never supposed to write negative things about gays, or else we were seen as collaborating with the enemy.
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