Jay Rosenblatt
It may seem contradictory to propose that a director could be at once formally experimental and generally accessible, but there have been many instances in the history of avant-garde filmmaking. Many of the more well-known have worked with reassembled found footage. The proto-trippy antics of Bruce Conner, the paranoid Unabombastics of Craig Baldwin and the turntablistic scramblings of Martin Arnold are just three of the more prominent examples of work that plays well to a wide variety of audiences?who've been already softened, perhaps, by the mass-media ubiquity of archival footage in commercial use.