EM: I would like to begin with the question of transpositions of cultures as you experienced it when you lived in Lajamanu in the late 1970s. This is exemplified in the story you tell about coming to Lajamanu and wanting to make an experimental film about dreaming practices within the community. Once your film was made and viewed in the community, however, you were surprised to find that Aboriginal people in Lajamanu took umbrage and asked you why you made them look stupid. They key problem seemed to be a disconnect between different aesthetic practices and uses of cuts to create rhythm. I thought we might begin by talking about that experience and then