I think we are choking about Antonio’s death because through him we see the death of an entire culture, and maybe indeed an entire city.
JC: With the AIDS crisis and its aftermath, culture would be forever changed in New York and elsewhere.
It was a moment some have described as “innocent,” but really it was a time of attainability and the spirit that anything was possible.
Of course, it’s a utopian notion that would eventually collapse as the decade wore on, with even more sexual promiscuity, more self-destruction, more drug use, and bitter rivalry as the fashion industry became more and more commodified. JC: Antonio had this innate gift as a draftsman, as the film points out.
I think it can be said for today that the suburbs have reached the city.
SK: It seems such a contradiction that on one side you had places like Max’s, the Roxy Club, Studio 54, and on the other you had a very racist media landscape.
Your film is a beautiful study of a milieu and a culture of generosity and openness.
James Crump interviewed by Stefan Kalmár Stefan Kalmár: Why Antonio Lopez, and why now?
James Crump: Antonio has been resonating for me for a very long time, since I was a teenager growing up in the Midwest of the United States.