I mean Downtown 81 was a movie that was made, Jean-Michel Basquiat was a young kid that was on the scene, everybody knew that he was going to turn into something, because he was so bright and so headstrong or ambitious or whatever.1 He was a great kid, and Glenn O’Brien was writing about music for Interview at that time and it was — basically all of us were friends on the scene. Kid Creole used to play a lot at Squat Theater, as did DNA. Everybody knew everybody, and Glenn and Edo and Maripol decided make this movie. They just put everybody in the movie. It was kind of a picture of a scene and then they wanted a story, so they came up — somebody came up with this idea to make Jean-Michel this budding artist, and he wasn’t — it’s not a documentary, but he was becoming an artist at the time they made that film about him becoming an artist.
So, even though it’s a fiction film, it’s one of these docu-dramas or whatever I guess. No, that’s not what it is. But it’s — I actually love that movie. I think it’s got a really nice touch. I kind of really hate documentaries where it’s a talking head style documentaries, people talk about how great somebody is, and you have this series of famous people talking about how great somebody is, and not saying anything interesting and everybody is shot in some plush environment with nice lighting, and you have somebody saying — whatever, I hate that stuff. And this carries a lot of information, but it’s enjoyable too, it’s lite, it’s not pretentious.