Q: People will approach the show with an expectation of controversy and thematic density, but others won’t: what’s in the show for the latter?

A: Think of this as a kind of exorcism—a way to show multiple perspectives of sound and image. Plus there’s the whole idea of ambient cinema. I come out of a tradition of collage—Harry Smith, Marcel Duchamp, Charles Ives, all European/Anglo American traditions, meet stuff like GrandMaster Flash, Afrika Bambaata and the Bomb Squad that produced Public Enemy. Plus I remix old blues records for the show as well. The idea is to apply DJ technique to cinema, but to keep things well chilled out and fun.

Q: You’ve said you have over 20,000 records. What have you bought recently? What artists have you let influence you in the current cultural landscape?

A: Lately I’ve been swamped with a zillion records. Stuff I like—Chris Rock’s new album Never Scared is hilarious—he does his Michael Jackson skit, et al., and the Sri Lankan/London native M.I.A. whose parents were in the Tamil Resistance—she mixes dancehall with a lot of cool South Asian material, and then of course, there’s my new album Drums of Death with the folks from Slayer and Public Enemy. I listen to a lot of different styles, so that tends to flow through my stereo system. It’s cultural origami, y’all!