Since 1991, Randy Barbetto and Fenton Bailey have been making the world a more spectacular place through their iconic production company World of Wonder. Although some people may only know a certain drag-themed reality show, World of Wonder has many films, documentaries and TV shows.
Like producing important documentaries Become chase And I am britney jean, To help bring the iconic film Party monster For life, the pair have been around Hollywood and back. Barbetto and Bailey have done a lot to boot the LGBTQ + community – and not just with drag race.
So it is not a shocker, one of the biggest LGBTQ + activists, the latest documentary subject for David Wojnowicz, Barbetto and Bailey. Both produced and directed by Chris McKim, Wojnarowicz: F *** you F ***** F *****, Also known as bus Wojnarovich A look at the career of the artist and his activism at the height of the AIDS crisis.
Now available for streaming until 19 November DOC NYC Website, Wojnarowicz The Doctor is due to see this year’s DOC NYC Fest in November. You can also see the doctor Participating Kino Marquee Virtual Cinema. You can read our interview with Barbora and Bailey, the product below.
How did both of you initially get involved in the film industry?
Fenton: Oh my God, it started sometime after the last century. Randy and I met at film school. And we are basically still working together. This is a smaller version. The longer version is about six hours long.
Randy: I would just like to add that when we started working together, we were not really willing to produce. We were primarily intending to direct but we never had any money. And we could never convince anyone that we do anything. Hence production became just a necessity. It was like, the only way to get things was for us to produce it. And so we are actually doing both.
Apparently after attending NYU in the 80s, you used to say something as its head in NYC. Did you experience any day of NYC nightlife?
Randy: This was in the 1800s. * Laughter * We were in NYU film school in the 80s. So we East Village lived a lot in the East Village during the art explosion of the 80s. Fenton and I spent most of our days at the Pyramid Club, a few blocks away from NYU Film School.
In fact, we often cut our editing class to create happy hours in the pyramids, which is, you know, where we all met the drag queens. Many of the friends we still have today, many of them draw queens. And our friends along with you know, Brian and Jessie from Three Teens Kill Four, and a lot of people are involved with this film.
Do you think that time spent in Pyramid Club helps in the beginning of your career?
Fenton: I think this was not the beginning of our success. It was like a recognition of our clan, and a feeling of being inspired by the queens of the pyramids, because they just went out and did it. You know, it was a very kind of punk, very pre-Nike “just do it”. It did not have a lot of resources, but was just doing it and it was very motivating for us to go there and do it.
Randy: And you know, at the time, the art scene was exploding. There were art galleries that you know at Gracie Mansion, PPOW, all on Avenue A, East Village. From the drag queen to the artist, everyone was just creating and making their own thing. It was from here that the World of Wonder was born.
That whole scene was very inspiring for us. It is still the reason why it is so exciting that this Wojnarowicz film is coming out. There are many reasons why this is such a special and important film, but one of them is just to remind some and / or educate others about that former village art scene.
What did you choose David Wojnrowicz as your latest documentary subject?
Fenton: That was exactly a point. When Chris came to us and was thinking of making us this film, there were two things. One: He was so obviously insane and just drowned in it. He was so passionate about it. But the other thing is that we have a year or more before finishing this film. And you know, Mapplethorpe is one of those big names that came out of New York City, like Warhol, Basequet, Harring.
But unlike Mappelthorpe, Wojnarowicz was so little known. And the complete opposite of Mappalthorpe, whose work was so perfect and, you know, high-end, was this unapproachable name of Wojnowirz, and his work was such anarchy. So it was a different experience.
Did you have a personal relationship with David Wojnrowicz?
Fenton: I remember that there were stencils of those burning houses everywhere in the entire eastern village. I don’t really remember meeting David Woznrowicz in person. We saw a performance of Three Teens Kill Four, and we knew Jessie who was in the band, and Brian as well. And Julie.
We knew three teenagers in Teen Kishore Maar Char, but we did not know him personally. But the work of the East Village and their stencils was just one of a kind – they were in the same thing, you know?
In the documentary, will we be able to see Wojnrowicz’s life, or will you just be able to focus on his activism and art career?
Fenton: that’s the whole point. This is a whole thing, yes. I mean, because it’s hard to separate one piece from another. I think it was one of the things that was very interesting about the incident in that former village, the city. Everything was mixed together. People were artists and they were activists, and they were singers and artists. All this was happening at once.
Randy: I want to give you an objective assessment: The Wojnarowicz film is a beautiful and moving, immersive and incredibly intimate film that gives you its life story, and also takes you on a tour of the East Village art scene in the 80s . And, it predicts the time we are living.
On the one hand, a very quiet, intimate and authentic film. But on the other hand, it is incredibly powerful. It is directed by Chris McKim. Again, there is a very important point of view of this, but you need to go up to the theater to see it.
Fenton: David was very prolific, spewing content. Diaries and tapes and paintings and poems and photographs were taken. And so he left behind him a great body. But this, as Randy says, is very immortal. I think the overriding thing is that you think you’ve spent an afternoon or an evening with David Wozanrowicz. He is gone, but I think this film really brings him to life.
What will be your favorite project in years?
Randy: Well, you know, we have worked with RuPaul. For forty years, approx. So we are like family. We have lots of the same beliefs, and. . . I don’t know, RU, Tammy Faye, Club Kids.
Fenton: Okay, I know you mentioned one, which is Britney Spears, because I’m a lifelong Britney Spears fan. And we documented her road to her Las Vegas residency, which was a personal attraction.
As you mention RuPaul, the three of you have done many things together over the years. How do you think she has grown since?
Fenton: As Randy says, “It’s like family.” And I think, you know, both Randy and I were the first time we saw Ru. There are some times in your life when you do something, and you immediately know that this is a very big shift, you know, that this is a big moment in your life.
Randy and I just looked at each other, and we’re like, “Who is * f * ck? He’s a major star.” It was almost like comedy gold, like, we just saw each other. And me There seems to be a lot of people in that period from that time, and let’s face it, do that.
Why is Wojnarowicz such an important subject for documentary?
Fenton: We also have to say those who are alive and alive, because, you know, tragically, not so many. Sometimes in a family-type situation, it is difficult to stand outside of it, and it must be very Oprah-like to analyze and be about it. It is difficult to define what is dynamic. But, there is a bond and, I think, it goes back to this idea of not being a lot, and just putting on a show.
Plus that idea, I think now, especially the city of New York was in the grip of an epidemic, and people were dying. I think that brought out the sense of disregard of people – you just to get on with it. And by the way, I wonder if Vojnovicz makes such a buzzing sound at this particular time.
For the first time he was pointing a finger at a government that was not taking a seriously fatal, serious epidemic. And indeed, perhaps, those people also wanted to die. And I think we have seen, sadly, the very mentality repeats itself, only in the last one year.
Randy: And this is also why it is so important for Wojnarowicz film people, especially young people, to see them. To remind what it is, what it takes to be a warrior and why it is important. You know, we saw with Trump, we’re sliding into the dark abyss.
You know, there are strong and unhinged voices to keep us from going into the dark. Sometimes I feel like I am such an old man, but you know, it is important for young people to know how to fight and to know how to speak truth with power. Hopefully, a new generation of people will not only love his artwork, but will be inspired by, you know, the origin of his being.
If David Woznrowicz were still alive today, what do you think he would say by looking at our current political and healthcare system, and how would we handle LGBTQ + issues?
Fenton: I think he will say two things. One is “I told you so.” I think the second thing he says is “to the barricades!” As Randy said, we cannot be complacent and we must continue to speak the truth for power and move forward.
I mean, thanks to Trump not being president right now. But we can’t forget what it was, with 79 million people voting for it? So you know, the danger and danger there is still real.
Not to jump around, but with the recent passage of Michael Alig and re-activity in the club world, do you ever see yourself returning to relate more projects Party monsterThe
Fenton: I think of two things. One you know, I think Club Kids will definitely present the selfie-obsessed social media environment of today. I think they almost acted it out before it came into existence in a pre-Internet way. So I think they were very presenters.
What’s more, Randy and I are filming with James St. James. We filmed Michael and Michael, from the release of Michael to prison until very recently. We think the club kids have more to tell. I know, we’ve made a documentary about it, and we’ve made a feature film about it with Macaulay Culkin, but it’s still a world and a story that draws us inside.
I think before Angel was killed we were trying to make a documentary about Club Kids. I think this is the kind of paradox that has enabled us to make money Party monster. But you also know that there were elements in Club Kids that we did not get to see fully in terms of ideas and creativity. It would be great to be able to do this.