Again he’s pushed the limits on what’s acceptable, what’s art, and what’s just plain old-fashioned, seat-of-your-pants film making. He’s known as The Donald and his totally uncompromising style of slash and burn cinematography has the whole world talking. His latest film, Che and the Gerbil, marks the latest in a series of stunning visual masterpieces for this young director. The Donald took time out from his hectic schedule to meet with american bondage for some straight talk about what it means to make art. "We don’t simply set the mood for the film, we actually try to live it, says the Kurt Godel (during his college years) look-alike director. "If I call for a gerbil, damn it, there better be a gerbil on that set, dressed and ready to go on with a moments notice." The Donald drops the spatula he’d been using to make his point and stomps over to where the cameras are set up. "So much of this I have to do myself," he says, adjusting the lens on the pixelvision camera. "I try to keep the budget low when it comes to the hardware. That way we can use the majority of our money for the incidentals."

The Director, The Donald, on the set of his latest film, Che and the Gerbil.

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