Q. What’s coming up in your future?

WK. Well, I wish I could say with absolute certainty, but there’s a film coming up in March in Austin, Texas—it’s a small film, the kind I’m always very impressed with when I watch the better festival films: small film, small cast, people relating to each other, not a heavy plot story. We’ve agreed on terms, it’s just a matter of whether they have all their resources together when its time to shoot. I’ve learned that you really can’t count on anything until they say ‘Action!’—and even then you don’t know until it’s done. So I’m reluctant to discuss it in any greater depth but I’m hopeful.

Q. I imagine the writers strike could complicate things.

WK. That’s also a problem. As a member of the Writers Guild, I hope the strike has a limited life and everybody can go back to work.

Q. The issues of the strike seem to be relevant for future projects like InAlienable that are distributed over the Internet. Whether the writers get a better cut.

WK. You bet, you bet. In 1980 they capitulated, because the producers said they had no idea of what kind of a life videos would have. As a consequence they accepted an almost infinitesimal percentage of any profits. The producers are pulling the same gag again—they don’t know what the internet is going to bring. My feeling is that if they don’t know then we should all be taking the same chance—give the writers a respectable cut in the profits, and if there are no profits, then everybody suffers. It’s probably more profound that I’m making it, I’m probably simplifying it too much, but I certainly hope they stand firm, because if it ain’t on the page it ain’t on the stage, that’s been forever.