about doing it? My film, David Holzman's Diary, was about this guy who makes a diary of his own life to try to find some truth that he can't perceive in real time. It was meant to be kind of an ironical formula, let's say, to explore a lot of those ideas. David Holzman's Diary was filmed in about a week with borrowed equipment and a mere $2,500 budget. According to L.M. Kit Carson, the money came from a book advance from The Museum of Modern Art, intended for him and McBride to research and write a book on cinema verité. After conducting several filmmaker interviews, they changed their minds and decided to do something better with the money: Halfway through the book-writing, McBride says to me: "There is no Truth on Film. Basically as soon as you turn the camera on – everything changes – to not real – gets like unreal." So we decide it's more quote/unquote "un-truth-ful" to write this book – we decide not to write this book. We take the $2,500.00 book-advance – and over the 10-day Easter Break from college – we make a cinema-verite mock-documentary – we figure it's the strongest way to question cinema-verite: David Holzman's Diary. David Holzman's Diary exemplifies guerrilla filmmaking, a mode of production defined not by genre but by a drastic lack of production resources along with a by-any-means-necessary mindset. The needed resources include money, equipment, facilities, and professional cast and crew; lacking them requires filmmakers to be very economical and creative, as with McBride and Carson's use of the $2,500 MoMA book money. Or with the writing of the film's dialogue. Film critic Jonathan Rosenbaum says the dialogue in David Holzman's Diary "was basically written (when it was written) on a scene by scene basis" with the actors involved. Other scenes were completely impromptu, such as the one with "the frank sexual talk from the lady in the Thunderbird–actually a transsexual who'd recently undergone a sex-change operation." David B. Lee describes this woman as actually a "pre-op transsexual," and more importantly notes that this is the only woman (or man playing a woman) in the film who isn't victimized by David's camera; who instead openly engages with it, cracking bawdy jokes and even explicitly soliciting sex. Earlier in the 1960s, McBride had attended NYU's film school, in the same class as Martin Scorsese. "When he was doing