I welcome your input.
Thank you,
Gerry Fialka
pfsuzy@aol.com 310-306-7330
Bio - http://www.laughtears.com/bio.html


Gerry Fialka is writing a history of the Festival via extensive research and interviews. The book (which will also be published as an e-book) covers the ONCE Group roots, creative motivations, philosophies, innovations, live performance art & music, lobby art, the early Old A&D location, Michigan Theater location, and much more. Delve deep into its inner workings and transformative longevity. Fialka's 50 plus interviews (and still growing) include founder George Manupelli, Chick Stand, Pat Olesko, Jay Cassidy, Joe Wehrer, Harold Borkin, Frank Mouris, Bill Brown, Leslie Raymond, Jason Jay Stevens, Morgan Fisher, Ben Russell, Bryan Konefsky, Owen Land, Craig Baldwin, Blue Gene Tyranny, Hugh Cohen, Frank Beaver, Jeanne Liotta, Peter Rose, Fred Worden, Lynne Sachs, Mark Street, Jay Rosenblatt, Alfonzo Alvarez, Jesse Lerner, Steve DeJarnatt, Frank Pahl, Terri Sarris, Lisa Marr, Paolo Davanzo, Gary Schwartz, Chris McNamara, Oren Goldenberg, Jesse Drew, John Cannizzaro, Danny Plotnick, Scott Nyerges, Rebecca Barten, David Sherman, Joe Tiboni, Victor Fanucchi, Roger Beebe, William Farley, Jeremy Benstock, Georg Koszulinski, Erika Suderberg, James Gillespie, John Nelson, Pip Chorodov, P Adam Sitney, Fred Camper, Tom Gunning, Chris Felver, Bill Daniel, Kate Perotti, Simon Mercer and many more.

Most recent interview additions include: Bill Brand, Martha Colburn, Tony Gault, Alexandra Cuesta, Vera Brunner-Sung, Laura Bouza, Natasha Mendonca (top prize winner at Ann Arbor Film Fest 2011), Vincet Goudreau, Javier Martinez and Jessica Sarah Rinland. And at Experiments in Cinema (New Mexico): Scott Stark, Wago Kreider, Peter Snowdon, Julie Perini, and Anthony Buchanan.

Fialka ran the infamous Ann Arbor Film Co-op from 1972 to 1980. He has curated film in LA since 1980, earning praise: "Gerry Fialka is Los Angeles' preeminent underground film curator." - Robin Menken, CinemaWithoutBorders.com

Fialka served on the AAFF Screening Committee from 1977 to 1980. He was the Ann Arbor 8mm Film Festival Director from 1977-80, and on the 8mm Screening Committee from 1975-80. Since 1971, Fialka has attended many AAFFs, and presented workshops:
·  2001 - "Best Of PXL THIS" workshop & screening of Pixelvision Fisher Price PXL2000 Toy Camera Festival, and produced the performance art piece "Moon Over Weeki Wachee" with Suzy Williams and the after party with Stormin' Norman & Suzy
·  2006 - Three different workshops on Documentaries, Culture Jamming and Experimental Film
·  2007 - AAFF Pioneers workshop
·  2008- Two different workshops: AAFF Innovators workshop & "Kick Out The Jams" on live music at the AAFF
·  2009 - AAFF Pioneers workshop
·  2010 - "Dream Awake" workshop on James Joyce & Experimental Film

"I am inspired and excited that Gerry Fialka, who holds an affinity for the Ann Arbor Film Festival, is writing a history of it. Having attended several of Fialka's AAFF workshops, I can testify he is intimate with experimental cinema and media philosophy, and is deeply dedicated to the exploration of new knowledge. " - Leslie Raymond, Professor of Art & New Media, University of Texas.

"I have attended several of Gerry Fialka's workshops in Ann Arbor. He is willing to enter in new discussions even if they go against his current views. Fialka's multilayered delivery of ideas encourages the search for new questions and new paradigms that extend beyond. He is well-informed, off-beat and articulate - one of the most fascinating people I've met." - Keith Jeffries, Ascalon Films

"Fialka is a damn good interviewer. His questions are sometimes so precise that it tickles and sometimes so grand and thought provoking that one feels on the edge of a new spiritual awareness." - Lynne Sachs, past AAFF award-winning filmmaker and past AAFF judge

"Being interviewed by Gerry Fialka was a real high point in my film career. His questions are wacky, discursive, cosmic, probing, thought provoking and, yes, experimental and avant garde. I left brimming with a renewed passion for the wide world of film and ideas. Gerry's enthusiasm and restless intellect are contagious." - Mark Street, past AAFF award-winning filmmaker

"Gerry Fialka's interview with me at Experiments In Cinema 2011 Film Festival was a highlight. He is my new favorite person. He is writing a book on Avant Garde Film & The Ann Arbor Film Festival. He is such a trip! Totally brilliant and passionate about everything about human existence it seems, but in particular media theory, media art, media activism. He asked me all sorts of great questions." - Julie Perini, filmmaker, writer and teacher
Gerry Fialka's Proposed Workshops-Screenings for future Ann Arbor Film Festivals

Gerry Fialka is available for bookings as a Guest Lecturer at universities, art museums, bookstores, salons, etc. Besides the many listed lectures, he can also create customized workshops.

List One http://www.laughtears.com/workshops.html (Pixelvision, Documentary, Experimental & more) 1-17
List Two http://www.laughtears.com/workshops2.html (James Joyce, Screenwriting & more) 18-34
List Three http://www.laughtears.com/workshops3.html (McLuhan, Beckett, Bunuel & more) 35-40
List Four http://www.laughtears.com/workshops4.html (Conceptual Art, Poetry & more) 41-70

Upon reading these workshop descriptions, LA Weekly Art critic Doug Harvey declared that Fialka should have his own department at Cal Arts. Fialka has lectured at universities and art museums worldwide on:

"Gerry Fialka's energized exercise in creative brainstorming AND critical thinking opens up an interactive space beyond the rote drills of required readings in the college classroom. With good humor and puns aplenty, he posits the daunting media matrix of word, sound, and image as something more like a jungle gym, and then generously invites all to climb on and play the McLuhanesque game of pattern-recognition." - Craig Baldwin

"Upon leaving Gerry Fialka’s Ann Arbor Film Festival Pioneers Workshop my first thought was: where do I go to sign up for another, because one is definitely not enough. This guy has a brain that interests me and a generosity of method that is rare as well as fecund. I watched him coax a room full of people in folding chairs into an intellectual group dynamic that showed just what the Socratic method can yield when led by a skillful master of ceremonies. Intellectual confluences of the widest description were entered into and all participants were not only invited along for the ride but also invited to have their say. I learned a lot. Gerry Fialka: that rarest of species, an original, non-institutionally-based intellect –a thinker whose natural predilections lead him to a connecting of the dots wherein both the dots and the connecting of the dots are illuminations of the unexpected and unconsidered. He makes his own way and invites you along for the ride. Before you know it, he’ll even give you a turn at the wheel." - Fred Worden, award winning experimental filmmaker and Professor of Visual Arts, University of Maryland

"McLuhan talks about media as extensions of our sense organs, and that's precisely what a workshop with Gerry Fialka is like. Gerry extends and enhances our ability to perceive the world. Did I also mention that Gerry is a hell of a lot of fun?" - Award-winning filmmaker Bill Brown


I- INNER VIEWS - Fialka streams many of his taped interviews in the lobby on a laptop or tv monitor. With Bill Brand, Martha Colburn and lots more)

II - ROOTED NOT RETRO - Fialka hosts a panel of AAFF vets and interconnects their favorite films with past and current times. Could include: Connie Crump (Quasi at Quackadero), John Johnson (Lelouch's Rendezvous), Clark Charnet (Selective Service), Martin Shack, Dan Gunning, Vicki Honeymoon, Woody Sempliner, George Manupelli, Jay Cassidy (good way to acknowledge past directors too). Fialka comprehensively surveys the meta-influences of the AAFF nurturing the arts community, new filmmakers and new ways to view avant garde film. With rare film clips and interactive discussion.

41 - BEYOND GESAMTKUNSTWERK - The German composer Richard Wagner first used the term "Gesamtkunstwerk" ("the total artwork") in his 1849 essay "Art & Revolution." Paramedia Artist Gerry Fialka joins with local filmmakers, poets, musicians and dancers to reinvent this multi-media, intermedia and transmedia extravaganza, aka "Gesamtkunstwerk". The one-of-a-kind interactive immersion teaches the history and future of live cinema. Expand "centers without margins" in an interdisciplinary collaboration of film, video, dialogue, theater and music. By reinventing the influences of Melies, Vertov, Warhol, Marker, James Joyce and more, participants transform the boundaries between art and science. All crew, no passengers! Explore circling the square and the mysteries of art. With anticipatory mindfulness, this multimedia synthesis shows how artists work much faster than theories evolve. Get educated as entertainingly as possible and discover what comes after the Internet. Entertrainment? "Will it be an event about a fake original or original fake?" - Peter Greenaway. They become what they behold.
From Buñuel's live narration to Stan VanDerBeek's exemplary multi-media Movie-Drome to Gene Youngblood's Synaesthetic Cinema to Ann Arbor Film Festival's Pat Olesko's interactions with her filmic self, the combo of film and the physical body has been transformative. Carolee Schneemann, Sun Ra and PXL THIS's King Kukulele have used their bodies as projection screens. Fialka surveys the historical context of pioneers Jack Smith and Alan Kaprow, who dissolved boundaries between film, art and life. Cultural Revolutionary Gerry Fialka and participants' fun otherness probes the creative process and interrelations between experimenters and audience. The mash-ups and transformations of cinema with new media, video, computers, and performance art are deeply examined and demonstrated. Explore the creative process by retooling McLuhan's percept: "May I suggest art in the electronic age is not a form of self-expression, but a kind of research and probing. It is not a private need of expression that motivates the artist, but the need of involvement in the total audience. This is humanism in reverse, art in the electric age is the experience, not of the individual, but of a collectivity."

42 - PORTRAIT OF THE POET AS EXPERIMENTAL FILMMAKER - Historian/Lit Critter Gerry Fialka's interactive workshop examines the interconnections between film and poetry. These artforms expand our notions of reality both inner and outer. How is the interior dialogue (consciousness) the essence of the human condition? How does it inform content vs form issues? Explore Poe, the Symbolists, Hollis Frampton, Walt Whitman, William Farley, Jack Kerouac, Charles Olson, Henry Ferrini, Robert Creeley, and Beat films up to contemporary New Media makers. Drawing on witty and insightful analysis of poet/experimental filmmakers Jean Cocteau, James Broughton, Maya Deren, Marie Menken, Abigail Child, Bob Branaman, Jack Smith, Yoko Ono and Stan Brakhage, Fialka reviews first-person lyrical visions. This multi-media event includes rare film clips of Diane DiPrima, Amiri Baraka, Bukowski, Beckett, Burroughs and Gary Snyder, as well as live readings accompanied by film projections that stir up new metaphors via self-reflexive synthesis. Come into deeper awareness of synesthesia and the non-physical via spoken word and moving image art. "All bad poetry springs from genuine feeling." - Oscar Wilde. Radically change the paradigms of sense ratio shifting. Turn the eye into an ear ala McLuhan's percepts. Fialka's observations provoke the rascality retrieval of Man (Cine-poem) Ray and Curtis Harrington, who transformed Poe into cinema.

53 - DREAMWORKS REDUX - Fialka and crew reinvent Dreamworks Quarterly Spring '80 issue which included Chick Strand, Dusan Makavejev, Pat O'Neill, Stan Brakhage, Paul Sharits, Ed Emshwiller & Bruce Conner discussing their dreams and films. This participatory "playshop" repurposes the same theme with new filmmakers, the heirs to this stellar line-up. "To sleep - perchance to dream; ay, there's the rub." - Hamlet by ShakESPear.

55- UNWATCHABLE FOOTAGE: The True Face of War (1914-2010) Documentarian Henry Schipper & Gerry Fialka discuss why explicit war footage is taboo, and screen archival material that makes everything you've ever seen about war look like a polite lie. Why is it forbidden to see the bottom-line truth about war? Viewer discretion advised. In the realm of Marcel Duchamp and making art that is not art (invisible paintings, motionless dance, silent music, unwatchable films), rethink the very act of screening film, and examine its hidden environments.

58- DR CHICAGO-AAFF - Experimental Film Historian Gerry Fialka surveys resonant intersections of George Manupelli's Dr Chicago films and the Ann Arbor Film Festival, which he founded in 1962. The amalgamation of innovators and sources that inhabit the Dr Chicago films is a hybrid metaphor for the roots of the Festival. Evolution is adapting to the exploration of personal filmmaking with breakdowns as breakthroughs (Alvin Lucier's stutter), performance art (Pat Oleszo), poetry (Edgar Allen Poe), avant garde music (Robert Ashley, Pauline Oliveros, Blue Gene Tyranny), political activism (Black Panthers), contemporary dance (Steve Paxton), painting, comedy, and post-post modern collage sensibility. This participatory workshop hoicks up the very personal interactions that these myriad forms also exploit and engage. Probe the vitality and influence of George Manupelli, who is still active as a filmmaker, poet, collagist and political/environmental activist. His Film For Hooded Projector also evokes the cosmic giggle ala the Duchampian inquiry of making art that is not art.

60- DOCUMENTARY FILM AS ART - Media archaeologist Gerry Fialka's interactive workshop on the documentary film and its recent rise of popularity. Examining pioneers like Flaherty, Vertov, Wiseman, Pennebaker, Leacock, Michael Moore and Chris Marker and their quest for ecstatic truth, emotional truth, intellectual truth and physical truth. Fialka incites new questions about Grierson's definition of documentary as "creative treatment of actuality." Probing the philosophies of documentarians, fresh insights will arise concerning stagings and reenactments, and the different viewpoints on degrees of involvement with the subjects. Vertov argued for presenting "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera). What is endemic to this genre and why? Wiseman calls docs "reality fiction, Alan King "actuality dramas," and Richard Leacock "historical fantasies." Why ? "I am for anyone who seeks the truth, but I part ways with them when they claimed they found it." - Bunuel.

63- ANN ARBOR FILM FEST PIONEERS - Gerry Fialka's interactive workshop probes the festival's history with provocative interrelations between innovators Ed Emshwiller, Carolee Schneemann, Pat Olesko and Stan VanDerBeek. Their mash-ups of cinema with video, computers, and performance art presaged New Media and Transmedia. Deeply examine its roots with the festival's web of past, present and future transformations. Fialka contextualizes McLuhan's percepts as detailed in Janine Marchessault's book Cosmic Media: "The New Media offer a freedom of movements, of creative thought and aesthetic perceptions that previous visual regimes did not. These portend an opening rather than a closing of different forms of engagement and interactivity." "The future of the future is the present" - McLuhan. "Fialka's workshops are in-depth communication of something extremely elusive - the history of the unimaginable - and his lively interpretation renders it useful." - William Farley, past AAFF Award-winning filmmaker & judge. The LA Weekly called Fialka a "cultural revolutionary."

64- PSYCHOSOMATIC CINEMA - Fialka explores the phenomenon of the psycho-activate effects of watching film. Danny Boyle's 2010 film 127 HOURS has caused audience members to pass out. Harold Lloyd's suspense comedy did it in the 20's. Horror films have done it too, Experimental filmmakers like Ken Jacobs and Tony Conrad have warned of their films causing epileptic seizures. Fialka interconnects the biology and science of the public film viewing experience. Can film really transform society as Joseph Beuys aspired? Can film end war, as D W Griffith said it would by 2024? What are the hidden effects of film? Survey the emotional, psychic, physical, nonphysical and social environments created by cinema. Poet W. H. Auden wrote that the mystery of art is that we do not know if it activates or pacifies us.

A- THE ART OF FAKERY IN DOCUMENTARY FILM - Media archaeologist Gerry Fialka's interactive workshop on the art of fakery and its recent rise of popularity. It transforms Picasso's axiom "art is a lie that tells the truth." Their rascality rewrites the nature of experimentation. "Only the hand that erases can write the true thing." -Meister Eckhart. Media archaeologist Gerry Fialka explores EAT THE SUN, 70's AAFF winner and early example of the fake doc. Are they lying to tell the truth? Discussing Alexandra Judas & Jessie Lerner's book F IS FOR PHONY: Fake Documentary And Truth's Undoing, Fialka probes the fiction/documentary divide, the ethics of reality-based manipulation, and whether documentaries derive from form or conception. From Buñuel's Land Without Bread to Welles's F is For Fake to Reine's Spinal Tap to Craig Baldwin's faux faux Tribulation 99, fakes dismantle understandings of identity, history, authenticity and authority. Examining pioneers like Flaherty, Vertov, Wiseman, Pennebaker, Leacock, Michael Moore and Chris Marker and their quest for ecstatic truth, emotional truth, intellectual truth and physical truth. Fialka incites new questions about Grierson's definition of documentary as "creative treatment of actuality." Probing the philosophies of documentarians, fresh insights will arise concerning stagings and reenactments, and the different viewpoints on degrees of involvement with the subjects. Vertov argued for presenting "life as it is" (that is, life filmed surreptitiously) and "life caught unawares" (life provoked or surprised by the camera). What is endemic to this genre and why? Wiseman calls docs "reality fiction, Alan King "actuality dramas," and Richard Leacock "historical fantasies." Why ? "I am for anyone who seeks the truth, but I part ways with them when they claimed they found it." - Bunuel.

B- PIXELVISION - PXL THIS Film Festival - Fisher Price PXL 2000 Toy Camera - Pixelvision http://www.laughtears.com/PXL-THIS-20.html "When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS." - George Manupelli, founder of the Ann Arbor Film Festival, filmmaker, poet, collagist and political/environmental activist

C- HOW THE US GOVERNMENT IGNORED AVANT GARDE FILM - This is the title of a chapter from the bookHollywood and The Culture Elite by Peter Decherney. Fialka explores politics and the mysteries of art. "Nelson Rockefeller supposedly once told Franz Kline ('jokingly') that the only reason collectors bought art was to keep artists from becoming revolutionaries. For a while in the sixties this strategy stopped working." - Lucy Lippard. Examine the book Who Paid the Piper – The CIA and the Cultural Cold War by Frances Stoner Saunders, who explores CIA connections with the Abstract Expressionist movement. Survey the work of Joseph Beuys and art's potential to transform society. Why is the mission of Bruce High Quality Foundation "examining the structures that make art what it is today with the intention of offering improvement" ? Fialka interconnects the AAFF with this indepth inquiry.

D- FIREBRANDS- Live interviews by Gerry Fialka with: George Manupelli, Yoko Ono, Jon Jost, Rick Schmidt, Ross McElwee, Abigail Child, Marina Abramovic, Bill Morrison, Lynne Sachs, Karl Krogstad, Paul Schrader, William Farley, Joe Gibbons, Abraham Ravett, Gene Youngblood, you.

E- Vortex of Visionary Venues (The many ways AAFF has spawned & nurtured venues like Other Cinema. Basement Tapes, Echo Park Film Center, 7 Dudley Cinema, Documental, Robert Beck Memorial Cinema & many more.)

F- Darlings of AAFF - Curt MacDowell & George Kuchar (& why their feature Thundercrack was rejected)

G- COSMIC CINEMA - The metaphysics of experimental film. Keywords: magic lantern, dreams, alchemy, meditation, drugs, occult, Larry Jordan, Ken Anger, Harry Smith. "Early in life I experimented with peyote, LSD and so on. But in many ways my films are ahead of my own experience. The new art and other forms of expression reveal the influence of mind-expansion. And finally we reach the point where there virtually is no separation between science, observation and philosophy." - Jordan Belson

H- ONE ROOM & ONE ZOOM: Structuralist Cinema at AAFF - Kubleka, Snow, Conrad, Warhol, Owen Land, Joyce Weil (uncover cinema's rock-bottom constituent elements - flicker, loop printing, fixed framing, re-photography)

I- Finnegans Wake in AAFF - From Hollis Frampton to Mary Ellen Bute with Cecile Starr in person (Harry Smith claims Bruno invented cinema 5 thousand years ago. James Joyce reinvented it and flipped it into social networking 7 decades before Facebook and MySpace.) "I can read readin' but I can't read writin' 'cause this writin' is written rotten" - Popeye's confession to Wimpy on his abilities as a semiotician.

J- AAFF Abstract Animation - from Oskar Fischinger to Whitneys to Larry Cuba to John Nelson (whose first AAFF film was made with strings, then he won a special effects Oscar)

K- CRITICAL THINKING/WRITING- How writing and theorist text about experimental film broadens the relationship between the viewers. Investigate fearless rule-breaking filmmakers via these writers (some have or have not attended and written about AAFF): P. Adam Sitney, Holly Willis, Amy Taubin, Parker Tyler, David James, Gregory Battock, David Curtis, Amos Vogel, Jonas Mekas, Fred Camper, Fred Haller, Scott MacDonald, Bryan Frye, Sheldon Renan & more.

L- Art, Painting & Sculpture in AAFF (program graphics, lobby art)

M- Experimental Theater in AAFF - Once Group beginnings and preshow performance art

N- AAFF Semiotics Take-over

O- The Inclusive and Exclusive Dilemma

P- OLD A&D vs MICHIGAN THEATER - "What I would like to do is build a cinema in a cave or an abandoned mine, and film the process of its construction. That film would be the only film shown in the cave. The projection booth would be made of crude timbers, the screen carved out of a rock wall and painted white, the seats could be boulders. It would be truly 'underground' cinema." - Robert Smithson

Q- "don't sell out, sneek in" Poetry and Exp film -explore why the word "poetic" is used in describing exp film...LOWELL BLUES: THE WORDS OF JACK KEROUAC ('05, 25m) - Henry Ferrini fuses visual history, language and jazz to illuminate Kerouac's childhood holy land. With Johnny Depp, David Amram, Robert Creeley, and L ee Konitz. The film interprets how place activates the writer's imagination,20and how the writer's art reshapes his city with reverence and respect. POLIS IS THIS - Charles Olson and the Persistence of Place ('07, 57m) --Ferrini tells the story of Olson, a colossus of American letters. Polis Is This surpasses the challenge of containing this giant and his ideas in cinematic form while simultaneously expanding our awareness of how much the universal is contained in the local. For Olson, the local was Gloucester, Massachusetts, the polis (a body of citizens in a particular place) wh ich shaped his life and poetry. Beyond a generous amount of Olson footage, striding his 6’8" c orpus about his poli s or engaging in the teacher’s art, we also meet the polis of this film: the artists – Amiri Baraka, Robert Creeley, Dianne DaPrima, Pete Seeger, Ed Sanders, John Sinclair, Anne Waldman – and the locals who knew him. Hosted, after an Olsonesque fashion, by John Ma lkovich. JOHN O'KEEFE'S ADAPTATION OF WALT WHITMAN 's SONG OF MYSELF ('07, 49m) - All too often, filmed theatrical performances are as flat as the screens upon which they20are projected. Not so with John O’Keefe’s phenomenal adaptation of Walt Whitman’s lovingly radical and radically loving poem from 1855. A quintet of ca mera operators (including the director, William Farley), don’t merely fi lm one of the most gifted solo performers in the world, they accompany O’Keefe as he celebrates every moment and beat of the poem just as Whitman celebrated every moment and beat of his life. John O’Keefe goes beyond a recitation or interpretation of the poem; he inhabits it.

R- POWER COUPLES - Fialka interviews Lynn Sachs & Mark Street (east) and Paolo & Lisa Marr (west) and Rebecca Barten & David Sherman (southwest) (and there's lots more) about their vital drive to educate, make and exhibit exp film.

S- RSDI RICH KIDS - How crane shots and Nike commercial mentality has .......... exp film.

Check out Gerry Fialka's interview series MESS at http://www.laughtears.com/mess.html

"Great interviewing requires a stimulating interviewer and Gerry Fialka is certainly that. Best part is that he makes the rare act of deep thinking in public before an audience flow as creatively and easily as a Basquiat painting." - Jay Levin, LA Weekly founder and former editor-in-chief

“Gerry Fialka has built up an important body of work in his decades of interviews. My challenge to him is: get a book deal, already.” - Tibby Rothman, Feature Writer LA Weekly, Founder/Editor VenicePaper

"Gerry interviewed me. I've given talks all over the world and none of them touched what happened in that interview. For 2 hours and 45 minutes, the spontaneous river rolled on. At the end of every outpouring, Gerry turned the page with a new question, and the new page was just as exciting as the last one. I guess I've been waiting for an interview like that all my life. Gerry Fialka is the world champion of interviewers, it's not even close" - Jon Rappoport, author & journalist.

"Fialka keeps ticking with independent cinema screenings! I am impressed with how adeptly and artfully he leads the lively post-screening discussions. His vast knowledge and passion for experimental films is evident." - John Caldwell, Producer

"Gerry Fialka's interaction with my students on media and McLuhan both challenged and inspired them to think outside the box. What an energizing two hours - I'm not sure who enjoyed it more, me or my students!" - Drew Pearlman, Filmmaker and Santa Monica College English Professor

"Fialka's animated Media Ecology Workshop acted like a Karate chop on the minds of my film/television students. It's rare for high school students to be exposed to these basic media fundamentals with the historical tracks that lead into present day truths. What a reality check for teens. The kids enjoyed the high-energy presentation and got a mental reorientation of how media plays on their day-to-day lives." -Romeo Carey, Media Director, Beverly Hills High School

"My experience in Gerry Fialka’s MESS series was a scintillating discussion of history, culture, philosophy, sociology and the creative process. His questions and ideas transcend the accepted, traditional limitations of “the interview. “ --Brad Schreiber, author, producer, screenwriter, journalist

“Fialka’s questions are challenging and thought provoking. These questions rattled me for days.” -Mary Jordan, filmmaker of Jack Smith documentary

"Fialka's interview with me was an invigorating, pleasurable, philosophical, specific, awakening journey." - Harry Northup, actor and poet

Check out Gerry Fialka's PXL THIS Film Festival - Fisher Price PXL 2000 Toy Camera - Pixelvision http://www.laughtears.com/PXL-THIS-20.html
"When the aliens are here and deciding whether to vaporize all mankind for our inhumanity, cruelty and greed, showing the aliens PXL THIS will save the world. PXL THIS shows our best nature as humanist creators and subversives against those who deserve it. Save the world. Support PXL THIS." - George Manupelli, founder of the Ann Arbor Film Festival, filmmaker, poet, collagist and political/environmental activist

"One never knows, do one?" - Fats Waller

"The word is now the cheapest and most universal drug." - McLuhan '51