The films of David Cronenberg are usually among the first young people watch that produce the feeling of discovery, of having seen something strange and novel. They are often watched by a group of friends on a couch, on a secondhand TV, in a rented home. I have watched many films with my friends in this manner and continue to do so to this day. Most of the people I know maintain some level of significant engagement with cinema, either in a professional capacity or as an enduring passion. If you are committed to some interest to the point of fixation, and can convey your enthusiasm for it in a comprehensive and meaningful way, no matter what it is, with some exceptions, people will generally view this as a positive quality. If there is an activity or practice you have pursued for a long time, there is a good chance you will continue it into the future for at least as long. I consider myself a very lucky person. Man, I have lived such a good life.

—Text by Collin Leitch

Collin Leitch (b. 1993) is an artist and filmmaker in New York. Recent exhibitions include The Darling Maneuver, Twelve Ten, Chicago (2026); Point Free, Cierah, New York (2024); World Edit, Shoot the Lobster, New York (2022); and Camera Rider, Team Gallery, New York (2019). He has also participated in group exhibitions at King’s Leap, New York; R & Company, New York; As It Stands, Los Angeles; and Freddy, New York, among others. His films have been screened at Channels Video Art Festival in Melbourne and a variety of New York spaces, including LUBOV, Mery Gates, and Entrance.