***Beginnings*** I needed a reason for my fancy art-school education, and I needed one bad. Having paid much of my way to school by myself (excepting a few loans, grants, & scholarships graciously given of by a couple of wealthy benefactors), I needed to justify to friends and family (and most importantly, to myself) going to SFAI rather than the community college down the street from my house. Making an hour-long documentary seemed to be the perfect way to both demonstrate my skills as a filmmaker and as a way to drag myself out of the doldrums of both a recent divorce and the death of my best friend and surrogate sister of 11 years. ***The Movie*** In the year 2000 I made Working for the Man as a part of an undergraduate thesis at the San Francisco Art Institute. With the help of the brilliant art historian and fellow BM attendee Mark Van Proyen, and my official SFAI mentor on the project, underground film legend George Kuchar, I was able to turn a simple idea about "going beyond the event" into a live, breathing animal with a mind of its own. One year and forty 60-minute tapes later, my project began to take shape. ***A Little Background-Burner info*** I have been attending Burning Man since 1998. The projects I was involved with leading up to my making "Working" were in association with the Palookaville theme camp, and included a giant white head on a platform ('98,) a giant white desk and tiny chair called The National Desk('99,) a giant psychoanalysis couch ('00,) and my crowning achievement, the deployment of 168 hand-cut and sewn Mr. Hankeys, which I and Crystal Green put on the porta-pottie walls for the personal enjoyment of the dusty masses during BM 1999. It is my personal hope that I'll be out goofing off around town one day and see one of these things dangling off of a car's rear-view mirror.