>> IN THIS EPISODE, THE ARTIST ENCLAVE CREATED BY THE ECCENTRIC ARMENIAN REFUGEE.

>> AS YOU COME UP THE HILL FROM ALTADENA, IT IS LIKE A DIFFERENT WORLD.

>> ART ON DISPLAY AT THE LOS ANGELES INTERNATIONAL AIRPORT.

>> PEOPLE TRAVEL FROM ONE PLACE TO ANOTHER.

THERE IS A CHANGE THAT HAPPENS IN THEIR LIVES.

THAT'S WHAT HAPPENS IN THIS INSTALLATION.

>> THE PROJECT CATALOGING GENDER INEQUALITY IN GALLERIES ACROSS THE WORLD.

>> HOW IS THAT POSSIBLE?

>> ALLEN'S SOUND SCULPTURE BORROWING FROM BARCELONA AND WATTS TOWERS IN LOS ANGELES.

>> I HAVE FIELD RECORDINGS FROM VARIOUS LOCATIONS.

I WANT TO COMBINE THEM TO MAKE A NEW "-- >> SOMETHING THAT FEELS LIKE MENTAL ILLNESS WHEN YOU ARE CREATING IT.

IT REALLY CAN DRIVE YOU CRAZY.

>> NEXT ON "ARTBOUND" -- >> LIKE MANY PEOPLE WHO GET THE OPPORTUNITY TO VISIT THE DOROTHY AND RANCH, I WAS COMPLETELY SURPRISED THAT THERE WAS THIS ART LAND PRACTICALLY RIGHT IN MY BACKYARD.

I HAD NOT KNOWN ABOUT IT.

THE ORIGINAL OWNER OF THE RANCH WAS AN ARMENIAN EMIGRANT.

WHEN HE DROVE AROUND THE PASADENA AREA, HE WOULD COLLECT DISCARDED ITEMS LIKE TELEPHONE POLES.

GET ANYTHING HE SAW THAT WOULD HAVE ENDED UP IN A JUNKYARD, HE TOOK THEM BACK HOME TO REPURPOSE AND MAKE THEM USEFUL.

THE COMBINATION OF WHAT HE DID WITH THE ZORTHIAN RANCH SPACE AND HIS BIG DYNAMIC PERSONALITY REALLY ATTRACTED AN ECLECTIC ARRAY OF PEOPLE.

ANDY WARHOL, MUSICIANS LIKE BOB DYLAN, EVEN NOBEL PEACE PRIZE PHYSICISTS.

IT WAS JUST A BIG HOTSPOT OF CREATIVITY AND ENERGY.

>> MY FATHER SAW EVERY DAY AS SOMETHING THAT NEEDED TO BE LIVED TO THE GREATEST EXTENT POSSIBLE.

THAT MANIFESTED ITSELF INTO ART THAT HE CREATED.

>> AT THE RANCH, THERE WERE THESE WONDERFUL GATHERINGS WHERE ARTISTS, FILMMAKERS, MUSICIANS, PEOPLE WERE GIVEN PERMISSION BECAUSE THE WAY HE ACTED MADE PEOPLE FEEL LIKE, THIS IS A PLACE WHERE I CAN EXPRESS SENSUALITY, AESTHETICS, SELF-EXPRESSION.

>> IT WAS LIKE AN ART OPENING.

THEY WOULD COME TO SEE WHAT HE HAD BEEN WORKING ON.

CHARLIE PARKER, ANTIWAR HALL, -- ANDY WARHOL, THEY WOULD GET INTO CONVERSATIONS YOU COULDN'T PREDICT.

>> MANY EXCITING ARTWORKS WERE MADE HERE.

ALL KINDS OF EXCITING PEOPLE AND EVENTS.

>> I STARTED BUILDING ON THIS RANCH MANY YEARS AGO.

WHEN I CAME HERE IN 1946, I DECIDED TO DO SOMETHING VERY EXCITING WITH THINGS THAT WERE THROWN AWAY.

>> AS YOU COME UP THE HILL FROM ALTADENA INTO THE ZORTHIAN RANCH, IT IS LIKE A DIFFERENT WORLD UP HERE.

THE BUILDINGS ARE ALL HANDGUN.

-- HAND-DONE/ .

MY FATHER BUILT MOST OF WHAT IS HERE.

HE WOULD BUILD THINGS WITH ROCKS, TELEPHONE POLES, WHAT EVER HE HAD AND BUILD THESE ASSEMBLAGE WALLS.

>> PEOPLE WOULD BRING HIM THINGS.

THEY WOULD SAY, ZORTHIAN WOULD LIKE THIS.

HE KNEW DEMO CONTRACTORS, THEY WOULD BRING HIM CONCRETE.

HE LOVED THE IDEA OF REUSING THINGS.

I THINK HE WAS ON THE CUTTING EDGE OF THINGS LIKE THAT.

SEEMS TO ME THAT YOU DIDN'T SEE A LOT OF THAT BACK IN THE EARLY 40'S, 50'S OR EVEN 60'S.

>> I REMEMBER SOMETHING MY FATHER SAID WHEN WE CAME TO THIS COUNTRY.

WHAT A WONDERFUL, BEAUTIFUL COUNTRY.

HOW ABUNDANT, HOW RICH, BUT HOW MUCH THEY WASTE.

>> MY FATHER WAS THE ELDEST OF THREE BOYS WHO LIVED IN TURKISH ARMENIA.

HE HAD SEEN SOME HORRIBLE, HORRIBLE THINGS.

THERE WAS A POINT WHERE THEY HAD TO GET OUT.

>> THE ARMENIAN GENOCIDE KILLED 2 MILLION PEOPLE.

HE DIDN'T VERBALIZE THAT TOO MUCH DIRECTLY.

HE DIDN'T TALK ABOUT THE TRAUMATIC THINGS HE HAD SEEN TOO MUCH.

>> THEY LEFT WITH VERY LITTLE AND THEY MIGRATED TO THE UNITED STATES.

HE ACTUALLY GOT INTO YALE FROM AN ATHLETIC SCHOLARSHIP BECAUSE HE WAS A WRESTLER.

THEN HE WENT TO YALE SCHOOL OF FINE ARTS.

HE LEARNED ALL THE CLASSICS, STUDIED ARCHITECTURE, PAINTING AND SCULPTURE.

IT WAS A RENAISSANCE TRAINING, THE WAY ARTISTS USED TO HAVE TO LEARN EVERYTHING.

>> MY FATHER'S ABILITY, HIS TALENT AS AN ARTIST ENABLED HIM TO WORK THROUGH SOME OF THE TRAUMA THAT HE EXPERIENCED, THAT GAVE HIS ART A CERTAIN DEPTH.

WHEN YOU LOOK AT HIS PAINTING THAT HE DID FOR HIS THESIS, IT IS OSTENSIBLY A PAINTING ABOUT PEOPLE SURVIVING A SHIPWRECK.

BUT WHEN YOU LOOK AT IT IN MORE DETAIL, YOU CAN SEE IT IS ABOUT JUST SURVIVING.

HIS FAMILY SURVIVED THE GENOCIDE.

>> DURING THE WAR, HE DID DRAFTING IN THE ARMY.

ONE OF HIS PROJECTS WAS THE PHANTASMAGORIA, A MURAL HE WAS ASKED TO DO.

IT IS MANY, MANY PANELS THAT WENT ALL THE WAY AROUND THIS HUGE ROOM.

FROM THERE, I THINK THAT SPRING BOARDED INTO THE WPA MURALS THAT HE DID FOR THE WORK PROJECT ADMINISTRATION.

HE DID 44 MURALS ALL OF THE UNITED STATES.

>> MURALS WERE BIG IN THE 1930'S AND 1940'S BUT AFTER THAT THEY DIED OUT.

HE STARTED MOVING INTO THE MORE TRADITIONAL SENSE OF WORKING WITH GALLERIES AND GETTING HIS THINGS IN MUSEUMS.

HE WASN'T ABLE TO ADJUST TO THAT.

HE WASN'T HAPPY WORKING WITH THE TRADITIONAL ART WORLD.

HE WENT HIS OWN WAY.

HAVING THIS BIG PROPERTY OFFERED HIM THAT OPPORTUNITY.

HE LIKED THE IDEA OF BEING NOT JUST AN ARTIST, BUT ALSO MOVING INTO ARCHITECTURE, HAND BUILDING WITH RECYCLED MATERIALS.

HE MOVED INTO ASSEMBLAGE ART.

>> MY FATHER LOVED TO HAVE PEOPLE AROUND HIM.

HE WOULD DO EVERYTHING HE COULD TOGETHER PEOPLE.

THERE WAS ALWAYS FOOD AND DANCING AND MUSIC.

WHEN HE HAD THE PARTIES, IT WAS AN OPPORTUNITY FOR PEOPLE TO COME AND SEE THESE THINGS THAT COULD NEVER BE TAKEN TO A GALLERY.

PEOPLE WOULD GO IN AND OUT OF THE STUDIO AND THEN THEY COULD WANDER AROUND THE RANCH AND SEE HIS WALLS AND HIS STRUCTURES.

>> HE LOVED TO BRING PEOPLE TOGETHER, PEOPLE WHO WERE AT THE TOP OF THEIR PROFESSION, WHETHER IT HE IN BUSINESS ART, SCIENCE, ANYONE WHO WAS FORWARD THINKING AND THOUGHT OUT-OF-THE-BOX.

MY FATHER, RICHARD FEYNMAN, THEY WOULD ARGUE WITH EACH OTHER ABOUT WHO APPRECIATED LIFE MORE, A SCIENTIST OR AN ARTIST.

THEY LIKED TO ARGUE.

I GUESS THAT IS WHY THEY BECAME GOOD FRIENDS.

>> MY FATHER WAS THE KING OF THE RANCH.

HE DECIDED TO HAVE A GREAT BIG PARTY THAT WOULD CELEBRATE HIS ANNIVERSARY, SPRING, AND HIS BIRTHDAY, WHICH WERE ALL SORT OF IN THE SAME TIME PERIOD.

I THINK IT ALL RELATED TO WHAT HE USED TO SAY, WHY NOT?

WHY NOT EXPRESS YOURSELF THE WAY THAT YOU REALLY ARE?

WHY NOT BE CREATIVE AND DO WHAT YOUR CREATIVE WORK IS?

IT WAS AN EXPRESSION OF HIS PHILOSOPHY OF LIFE.

>> MY FATHER PASSED AWAY IN 2004 , SO THAT WAS THE END OF THE LINE FOR WHAT HE WAS DOING.

THEN IT BECAME TIME FOR THE REST OF US TO STEP UP AND FIGURE OUT WHERE TO GO FROM THERE.

TODAY, WE HAVE OTHER ARTISTS WHO HAVE STUDIOS HERE.

IT IS JUST COMPLETELY SOMETHING YOU WOULD NEVER SEE ANYWHERE ELSE.

>> THEY CALL ME ZORTHIAN'S DISCIPLE.

THE MOMENT I MET ZORTHIAN, WITHIN 15 MINUTES, HE SAID YOU MISSED MY PARTY, I NEED A FORM AND THAT IS NOT TO CREATIVE.

HE FOUND OUT I COULD WELD, COULD MAKE DRUMS, AND I WAS ALREADY A CONTRACTOR.

I HELPED HIM WORK FOR 12.5 YEARS.

AT THE BEGINNING, I WAS HERE TO HELP THE MAN FULFILL HIS VISION.

I WAS AN ASSISTANT AND I WAS NOT TO BE CREATIVE.

IT ALLOWED ME TO EXPRESS MYSELF IN MY OWN WAY, WHICH THRILLED THE CRAP OUT OF HIM.

GIVEN THE SCALE AND THE SIZE OF THE RANCH, IT HAS ALLOWED ME TO CREATE THINGS LIKE THIS OUT OF FOUND OBJECTS.

THESE HEAVY GAUGE STEEL PIPES, THERE WERE 70 OF THEM, I TOOK ALL OF THEM AND I KNEW WHAT I WAS GOING TO BUILD.

THE THINGS I DO IN MY ARTWORK HAVE ALWAYS BEEN INFLUENCED BY THE FREE NATURE WE HAVE HERE.

THERE ARE NO RESTRICTIONS, THINGS ARE VERY ORGANIC.

>> MOST ARTISTS ARE CLOSED IN, IN THE STUDIO.

I WAS FOR A VERY LONG TIME.

WHERE I AM NOW IS A -- IT WAS ONE OF JIRAYR ZORTHIAN'S WONDERS HERE AT THE RANCH.

IT WAS OFFERED THAT IF I COULD CLEAN IT OUT, I COULD ALSO GAIN THE USE OF IT.

IT HAS THIS OPEN FACED WALLS.

EVEN MORE SO THAN IT BEING A STUDIO, IT WAS A STAGE.

THE RANCH IS AN INTERESTING PLACE.

IT MELDS ART AND LIFE TOGETHER.

IT HAS THIS RUGGEDNESS, WITH STABLES, HORSES AND CHICKENS, BUT IT ALSO MELDS THE PRACTICE OF CREATING ART, AND ART OUT OF MATERIALS THAT ARE OFTEN CAST OFF.

ONE THING THAT I LOVE ABOUT ASSEMBLAGE ART IS THAT IT LEAVES THE TABLE WIDE OPEN FOR WHAT YOU CAN DO.

THE MATERIALS CHANGE ALL THE TIME.

YOU ARE CONSTANTLY EVOLVING.

IT IS VERY BROAD BECAUSE IT IS BASED ON WHAT YOU ENCOUNTER AND THE MAGICAL REUSE OF MATERIALS LIKE WASHING MACHINES, DOORS, AND WINDOWS.

SO THIS KIND OF PLACE IS VERY NURTURING TO THAT WORK.

I FEEL THAT ASSEMBLAGE ART, ARTIST-MADE ENVIRONMENTS, VISIONARY ART, THE AUDIENCE AND THE PUBLIC BECOMES A PARTICIPANT.

THEY ARE NOT JUST SPECTATORS.

THE ARTIST PROJECTS OUT.

THE PUBLIC RESPONDS BACK.

WE HAVE THIS EVENT UNFOLD IN WAYS THAT YOU CAN'T PREDICT.

>> WE ARE DOING A PRIMAVERA PARTY WHICH WE HAVEN'T DONE FOR 10 YEARS.

IT IS IMPORTANT TO RENEW THE CELEBRATION.

THEY CAN SEE HOW UNIQUE IT IS AN EXPERIENCE IT.

IT BRINGS PEOPLE TOGETHER IN A CREATIVE WAY AND MAKES THEM FEEL A PART OF IT.

THAT IS WHY WE CONTINUE TO DO IT.

>> THE RANCH IS SO VITAL.

IT IS STILL AN ONGOING WORK IN PROGRESS.

THE ACT OF CREATIVITY THAT TAKES PLACE BETWEEN THE ARTISTS WHO WORK HERE AND THE PUBLIC, THE THINKERS, THE ARTISTS, THE MUSICIANS, THE PORTERS.

THEY ARE LOOKING AT THAT LEGACY AND RESPONDING TO WHAT IS HAPPENING IN A NEW ERA.

>> IN THE PAST, IT SEEMED LIKE WE ATTRACTED NOTHING BUT FREAKS.

BUT THE FREAK VORTEX THAT EXISTS TODAY IS AMAZING.

THE MAN HAD A VISION.

WHEN HE PASSED, THERE WAS STILL 40 YEARS LEFT OF WORK.

10 YEARS LATER, WE STILL HAVE 40 YEARS OF WORK.

WE ARE FULFILLING A NEW VISION AT THE SAME TIME.

>> I AM AN ART CRITIC, CURATOR OF AN ORGANIZATION CALLED LOS ANGELES WORLD AIRPORTS.

THE SOLE REASON TO EXIST IS TO PLACE CONTEMPORARY ROTATING EXHIBITIONS OF ART IN THE PUBLIC SPACES THROUGHOUT ALL THE TERMINALS OF NOT ONLY LAX, BUT SEVERAL OTHER AIRPORTS, ONTARIO, JOHN WAYNE, ETC.

IT WAS ABOUT AN ALTERNATIVE IDEA ABOUT WHAT PUBLIC ART CAN BE AND WHO THE PUBLIC IS AND WHAT A PUBLIC SPACE IS.

YOU DON'T NECESSARILY THINK OF AN AIRPORT TERMINAL OR A TRAVEL HUB CONCOURSE AS "PUBLIC ART SPACE."

YOU THINK OF A BANK PLAZA, A PARK, WHERE IT IS OUTSIDE AND PERMANENT.

WHAT MAKES THIS MODEL DIFFERENT AND INTERESTING IS NOT ONLY THE SPACE ITSELF, BUT ALSO THAT IT IS CONCEIVED TO BE SOMETHING THAT IS ROTATING, THAT BRINGS IN OTHER CURATORS AND WORKS DIRECTLY WITH ARTISTS.

YOU ARE FREE TO BE ABSTRACT, WHIMSICAL, INTERACTIVE, AND YOU ARE FREE BECAUSE IT IS TEMPORARY.

AN ARTIST CAN LOOK AT IT MORE LIKE AN EXHIBITION IN AN INTERESTING SPACE AND DO WHAT THEY ALREADY DO.

I LOVE TO FURTHER THE IDEA THAT YOU THINK OF THE TRAVELING PUBLIC AS THE PUBLIC.

LET'S SAY YOU ARE COMING TO LOS ANGELES.

LET THEM FLY INTO A GALLERY.

IT IS CONTEMPORARY LOS ANGELES ART.

YOU CAN ACTUALLY GET A SENSE OF THE CITY YOU HAVE JUST ARRIVED IN BY SEEING IT.

>> AFTER 9/11, PEOPLE'S RELATIONSHIPS WITH AIRPORTS CHANGED.

A VERY STRESSFUL ENVIRONMENT AND PEOPLE HAD TO ARRIVE AT THE AIRPORT A LOT EARLIER TO ALLOW ENOUGH TIME FOR SECURITY.

ONCE THEY PASSED SECURITY, THEY HAD A LOT OF TIME ON THEIR HANDS AS THEY WERE WAITING FOR THEIR FLIGHT.

AIRPORT ART PROGRAMS RECOGNIZED THAT AS AN OPPORTUNITY TO DELIVER A UNIQUE ART EXPERIENCE.

WE TRY AND FIND SPACES WHERE PEOPLE MIGHT BE WAITING, AT A GATE OR NEAR A SECURITY LINE, AND LOOK AT HOW ART COULD TRANSFORM THOSE AREAS.

NOT ALL THE PASSENGERS ARE GOING TO LOOK AT THE ART OR MAY EVEN HAVE AN INTEREST IN ART, BUT ART'S PHILOSOPHY IS THAT EVEN HAVING SOMETHING IN THE BACKGROUND, SOMETHING THAT MIGHT CATCH THEIR EYE, A COLOR OR TEXTURE OR SOMETHING WITH MOVEMENT, WILL ADD SOMETHING TO THE ENVIRONMENT.

BY INTERACTING WITH SOME OF THE ARTWORK, IT MIGHT HELP THEM SORT OF SLOW DOWN FOR A MINUTE.

MAYBE TAKE SOMETHING IN THAT THEY HADN'T THOUGHT ABOUT.

AND ENHANCES THE OVERALL EXPERIENCE AT THE AIRPORT.

I THINK LAX HAS ALWAYS HAD AN INTERESTING DESIGN AESTHETIC TO IT.

YOU HAVE VERY ICONIC ARCHITECTURE RIGHT IN THE MIDDLE OF THE AIRPORT.

THEN WE HAVE THE PYLONS THAT ARE WELCOMING PASSENGERS AND VISITORS.

AS WELL AS SOME OF THE HISTORICAL MURALS YOU WILL FIND IN THE TUNNELS.

I THINK THE ART PROGRAM IS CONTINUING THAT DESIGN AESTHETIC THROUGH THE CURE RATION OF OUR ART EXHIBITIONS, FROM PHOTOGRAPHY, TO PAINTING, TO VIDEO ART, TO INSTALLATIONS, TO SCULPTURE AND EVEN DANCE.

ONE OF THE ARTWORKS TO GET A LOT OF FEEDBACK FROM PASSENGERS IS ELEVATE IN TERMINAL THREE.

FEATURING THESE ORIGAMI PAPER AIRPLANES THAT HAVE BEEN IMPRINTED WITH THE WORDS OF THE GENEVA CONVENTION AS WELL AS THE UNIVERSAL DECLARATION OF HUMAN RIGHTS.

I THINK THE PRINCIPLES THAT ARE LISTED IN THOSE DOCUMENTS ARE IMPORTANT TO KEEP IN MIND, ESPECIALLY IN AN AIRPORT SUCH AS LAX.

IN OUR MEET AND GREET AREA OF TERMINAL ONE, RIGHT NEXT TO BAGGAGE CLAIM -- PEOPLE ARE SITTING THERE WAITING FOR THEIR FRIENDS AND FAMILIES TO ARRIVE.

THE ARTWORK ON DISPLAY IS PLAYING OFF THE IDEA OF PRESENTING A BOUQUET OF FLOWERS TO A LOVED ONE UPON THEIR ARRIVAL.

WE HAVE THESE GIANT PORTRAITS OF POPPIES.

THE TITLE IS AN INVITATION TO TAKE A PHOTO OF THEMSELVES IN FRONT OF THE PAINTINGS AND UPLOAD IT WITH THE HASHTAG.

THERE IS THIS VIRTUAL EXHIBITION TAKING PLACE ONLINE AS WELL.

WE HAVE A UNIQUE OPPORTUNITY.

WE HAVE OVER 50 MILLION PASSENGERS ON AN ANNUAL BASIS AND EIGHT DIFFERENT TERMINALS TO SHOW A WIDE VARIETY OF ARTWORKS.

IT IS VERY REFLECTIVE OF THE CREATIVE COMMUNITY HERE IN LOS ANGELES.

>> WELCOME TO LOS ANGELES INTERNATIONAL AIRPORT.

PLEASE KEEP YOUR PERSONAL BELONGINGS WITH YOU AT ALL TIMES.

>> AS A CURATOR, I'VE WORKED IN GALLERIES, MUSEUMS, BUT WHEN I SUBMIT A PROPOSAL TO DO AN INSTALLATION AT LAX, IT IS A VERY DIFFERENT SPACE TO HANDLE.

IT IS VERY CHALLENGING, BUT ALSO REALLY EXCITING.

>> WHEN WE WERE SHOWN TERMINAL THREE, IT WAS THIS GARGANTUAN WHITE BOX.

WE WERE A LITTLE OVERWHELMED.

ONE WALL IS 210 FEET LONG.

WE HAD THREE TO FOUR DAYS FOR INSTALLATION.

WE HAD TO DEVELOP A PIECE THAT COULD GO UP IN THAT AMOUNT OF TIME.

>> WE WANTED TO CREATE SOME MOMENTS OF INTIMACY AND PLAYFULNESS.

WE WANTED TO ADD COLOR.

WE WANTED TO NOT MAKE THE SPACE FEEL SO LARGE.

ONE OF THE FIRST DECISIONS WE MADE WAS HOW TO DEAL WITH THE LONG WALL.

PAINTING A GIANT BLACK SHAPE WAS A GREAT PLATFORM TO START WITH BECAUSE WE COULD BUILD OFF OF THAT.

>> WE ARE REALLY EXCITED ABOUT THIS INSTALLATION.

IT IS THE FIRST TIME MARGARET AND JAMES -- THEY ARE BOTH ARTISTS BUT THEY HAD NEVER EXHIBITED THEIR WORK TOGETHER.

WE COULD SEE WHERE THEIR ARTWORK WOULD HAVE A DIALOGUE.

IT WILL BE REALLY INTERESTING TO WATCH THIS ONE UNFOLD.

>> THEY ARE THE KIND OF ARTISTS WHO COULD HANDLE THIS KIND OF A CHALLENGE.

NOT EVERYBODY CAN.

IT IS ABOUT ENHANCING THE ENVIRONMENT IN A WAY THAT WORKS WITH IT, SO IT TAKES INTO CONSIDERATION THE WAY THE AIRPORT ITSELF WAS BUILT.

>> THE TRAVELER IS NOT HERE TO SEE THE WORK.

THEY ARE HERE AS TRAVELERS.

WE TRY TO CREATE MORE OF AN ENVIRONMENTAL INSTALLATION THAT ALLOWS THE VIEWER TO EXPERIENCE IT AT A GLASS, SOMETHING THAT YOU EXPERIENCE AS YOU WALK THROUGH.

>> I'VE BEEN WORKING WITH CUT METAL FOR THE LAST COUPLE YEARS.

THE GATES I'VE BEEN WORKING WITH ARE ONES THAT ARE FOUND IN MY NEIGHBORHOOD, IN HIGHLAND PARK.

I'VE BEEN PHOTOGRAPHING THE GATES I SEE EVERY DAY.

THEY ARE PRETTY COMMON THROUGHOUT SOUTHERN CALIFORNIA.

WE ARE GOING TO CUT OUT AREAS WHERE THERE ARE DOORWAYS INTO OFFICES.

THERE IS A DEFIBRILLATOR THAT WE ARE GOING TO CUT THE METAL AROUND.

>> IT TAKE SOMETHING THAT WE THINK OF GENERALLY AS A BARRIER, A GATE, A SEPARATION BETWEEN SPACES, AND SHE TRANSFORMS IT INTO THESE WONDERFULLY FLOWING ENVIRONMENTS.

IT GIVES THIS A COMPLETELY DIFFERENT MEANING.

>> A BOUNDARY IS REALLY AN ILLUSION.

YOU CAN PASS THROUGH.

WE ARE TAKING IT AND TWISTING IT AND TURNING IT.

I THINK AS PEOPLE TRAVEL FROM ONE PLACE TO ANOTHER, THERE IS A CHANGE THAT HAPPENS IN THEIR LIVES.

I THINK THAT IS WHAT HAPPENS IN THIS INSTALLATION.

THE SPACE IS A PASSAGEWAY.

AS YOU ARE WALKING THROUGH IT, IT IS LIKE A BEGINNING AND AN END.

>> WEATHER BOX IS AN ATTEMPT AT TAKING A SECTION OUT OF WHERE THE LAND MEETS THE SUN.

WE TAKE THAT LITTLE RECTANGLE OUT AND BRING IT TO YOU.

IT IS A MASHUP OF MINE AND MARGARET'S WORK.

DOING A BIG PUBLIC ART PIECE AT LAX IS AN OPPORTUNITY TO BE SEEN BY MORE PEOPLE THAN WE WOULD EVER HAVE AN OPPORTUNITY TO BE SEEN BY.

IT IS EXPOSURE TO THE NTH DEGREE.

IF THIS WORK WERE AT ANY MUSEUM OR ART GALLERY, THE AMOUNT OF EXPOSURE IS A FRACTION OF WHAT IT GETS HERE.

THERE ARE VERY FEW VENUES WHERE YOU GET THE OPPORTUNITY TO MAKE A 210-FOOT-LONG PIECE.

>> THE COMMUNITY REALLY WELCOMES EXPERIMENTATION.

OUR EXHIBITION SITES ARE ALMOST LIKE LITTLE LABORATORIES.

WE FIND ARTISTS WHO ARE EXCITED TO STEP OUTSIDE OF THE GALLERY AND PUSH THOSE BOUNDARIES.

REALLY SEE THE SPACE THROUGH DIFFERENT EYES.

>> I'M SORT OF ENAMORED WITH LAX IT SELF.

IT IS ONE PLACE IN THE URBAN SPRAWL OF THE LOS ANGELES THAT WE ALL END UP IN AT SOME POINT.

THERE IS THIS LOVE/HATE RELATIONSHIP THAT WE HAVE WITH IT.

IT CAN BE DIFFICULT TO DEAL WITH AND THERE IS CONSTANT CONSTRUCTION.

I THINK ABOUT IT IN TERMS OF WHAT THAT MEANS EMOTIONALLY.

IT IS A POINT OF DEPARTURE AND ARRIVAL.

IT COULD BE A HAPPY MOMENT, A SAD MOMENT.

ALL THOSE THINGS INFORM HOW I TALKED TO THE ARTISTS ABOUT IT AND HOW WE END UP COLLABORATING.

>> THE ART WORLD AND THE GALLERY WORLD CAN SEEM VERY INSULAR AND ELITIST, WHICH ALIENATES A LOT OF PEOPLE FROM GOING INTO THE GALLERIES.

THE GALLERIES ARE FREE.

ART IS FOR THE PEOPLE.

IT IS NOT IN A VACUUM.

BRINGING IT INTO A PUBLIC VENUE LIKE LAX IS A TESTAMENT TO THAT.

>> WHEN I'M WALKING THROUGH THE TERMINALS AND I SEE SOMEONE WHO MIGHT BE IN A RUSH BUT STOPS FOR A MINUTE AND LOOKS AT THE ARTWORK, I'M REMINDED OF WHAT WE ARE TRYING TO DO.

I KNOW WE HAVE GIVEN SEVEN -- GIVEN THEM SOMETHING TO THINK ABOUT.

SOMETHING TO TAKE ON THEIR JOURNEY HOME.

>> MY NAME IS CAROL LINA MARANDA.

I'M A CULTURAL JOURNALIST AND I COVER ART, ARCHITECTURE AND OTHER FACETS OF CULTURE FOR MAGAZINES.

SHE IS A REALLY INTERESTING ARTIST, SOMEONE I DISCOVERED PURELY BY ACCIDENT.

I WAS AT A GALLERY IN CHINATOWN.

THERE WAS A PIECE BY HER HANGING ON THE WALL.

IT WAS A PINK AND BLUE PIECE THAT CATALOGUED THE GENDER BALANCE OF EVERY GALLERY IN LOS ANGELES.

THE PINKER THE P SCOTT, THE MORE WOMEN THE GALLERY HAD.

SOMETIMES FEEL AS A WOMAN THAT MAYBE YOU ARE NOT GETTING AHEAD AS MUCH AS A MAN FOR WHAT DON'T HAVE ANY EVIDENCE TO PROVE IT.

SHE SAYS HER MOMENT CAME WHEN SHE WAS READING ARTICLE FROM, THE BIBLE FOR ALL THINGS CARD WORLD.

SHE WAS READING THROUGH IT AND SHE HAD THIS SENSE THAT OF A SINGLE PAGE ADS, THAT MOST OF THEM WERE FOR MEN.

SHE SAT DOWN AND COUNT IT THEY WERE INDEED MOSTLY FOR MEN.

IT WAS A 70% TO 30% BREAKDOWN.

FOR HER, IT WAS THIS AWAKENING.

IT WAS CONSISTENT MONTH AFTER MONTH.

ALSO, IT WAS THINKING ABOUT ALL OF THE SUPPORT, THE SUMMER SHALL SUPPORT -- COMMERCIAL SUPPORT THAT MOST WOMEN DIDN'T HAVE ACCESS TO.

SHE STARTED COUNTING THE ADS IN ART FORUM, POSTING THE RESULTS ON HER FACEBOOK PAGE, A ELICITING REACTIONS FROM PEOPLE.

SHE WAS INVITED TO PARTICIPATE IN A SHOW AT WEST L.A.

COLLEGE.

SHE HADN'T REALLY MADE ANY NEW WORK.

SHE TURNED TO HER FACEBOOK AND SHE SEES THIS POST ABOUT THE ART FORUM PAGE TOTALS AND THOUGHT, I'M GOING TO DO SOMETHING ABOUT GENDER AND EQUITY.

BECAUSE SHE IS AN ARTIST WHO IS REALLY INTERESTED IN WORKING COLLECTIVELY, I'M GOING TO INVITE OTHER PEOPLE TO HELP ME TRACK THIS.

SHE PUT OUT AN OPEN CALL AND ASKED PEOPLE TO MAKE WORK THAT CHARTED THE GENDER BALANCE OF DIFFERENT GALLERIES IN LOS ANGELES.

SHE SAID WITHIN FIVE DAYS, SHE HAD 50 ARTISTS.

IT WAS ONE OF THOSE THINGS THAT SPIRALED.

PEOPLE SAYING, I WILL DO A POSTER, ARTISTS FROM NEW YORK STARTED TO CALL.

IT BECAME ONE OF THOSE BUTTERFLY EFFECT THINGS WHERE THAT LITTLE FLAP OF THE WINGS ON FACEBOOK AND IT UP TURNING INTO THIS -- ENDED UP TURNING INTO THIS HUGE PROJECT.

>> VERY OFTEN, GALLERIES ARE THE FIRST INSTITUTIONS THAT PICK UP YOUNG ARTISTS STRAIGHT OUT OF SCHOOL, OR THEY FIND THEM WORKING IN THEIR STUDIOS AND GIVE THEM THEIR FIRST EXHIBITION.

>> GALLERIES REALLY ARE A SPACE WHERE YOU GET TO SEE WHAT IS BEING CREATED AT THE MOMENT.

A MUSEUM IS A REPOSITORY OF THOSE OBJECTS THAT ARE BEING CREATED.

IT HOLDS THE HISTORY OF THE PERIOD.

>> A LOT OF ARTISTS START IN THE GALLERY WORLD.

IT IS THROUGH CONNECTIONS TO DEALERS AND CURATORS WHERE THEY START GETTING INTO THE MUSEUM WORLD.

ARE WOMEN UNDERREPRESENTED, YES.

IN THE GALLERY WORLD, YES.

IN THE MUSEUM WORLD, YES.

>> GALLERY TALLY IS A PROJECT THAT WAS INITIATED BY MICOL HEBRON AND IT LOOKS AT THE REPRESENTATION OF MEN AND WOMEN IN COMMERCIAL GALLERIES.

>> FIRST LOS ANGELES, THEN NEW YORK, NOW A LOT OF OTHER CITIES.

>> WE ARE LOOKING AT THE PERCENTAGE OF WOMEN AND MEN REPRESENTED AT GALLERIES AND ARTISTS ARE MAKING POSTERS THAT REPRESENT THAT.

>> FOCUSING ON THE STATISTICAL ASPECT OF THE REPRESENTATION OF MEN AND WOMEN IN GALLERIES HIGHLIGHTS HOW DRAMATIC THE DISCREPANCY BETWEEN MALE AND FEMALE ARTISTS ARE IN TERMS OF VISIBILITY AND REPRESENTATION.

>> IT IS A TOTALLY OPEN PLATFORM.

ANYONE IS WELCOME TO JOIN.

YOU LOOK AT A GALLERY, YOU GET THE DATA AND YOU VISUALIZE THE DATA.

YOU CAN MAKE A POSTER IN WHATEVER STYLE YOU WANT.

WE HAVE SO MANY DIFFERENT APPROACHES, FROM TEXT-ONLY TO ABSTRACT REPRESENTATIONAL, THE GRAPHS, APPROPRIATED IMAGES, COLLAGES.

IT INCLUDES A DIVERSITY OF ARTISTIC VOICES TOO.

>> MAY BE HUNDRED ARTISTS IN THE SHOW.

LAST I HEARD, 800 INVOLVED MAKING POSTERS.

THERE ARE A LOT OF US NOW.

>> IT IS ALMOST OVERWHELMING, THE NUMBER OF PEOPLE INTERESTED IN THIS TOPIC.

>> WE LOVE BEING ARTISTS AND WE WANT TO SEE A BETTER ART WORLD, A MORE EQUAL, MORE RICH, MORE COMPLEX ART WORLD.

>> FOR GENERATION AFTER GENERATION, WE HAVE NOT CARED THAT WOMEN'S PRODUCTION WAS ENTIRELY LOST.

>> THE HISTORY OF ART LOOMS LARGE IN OUR HISTORY.

WOMEN HAVE TRADITIONALLY BEEN ALMOST INVISIBLE.

THAT IS A TREND AND A DEVELOPMENT THAT CONTINUES TODAY.

>> WHY IS THIS HAPPENING?

MICOL IS POINTING OUT THAT THIS IS HAPPENING IN A GIANT WAY.

WHAT IS THE REAL REASON?

WHACK'S ONE OF THE ARGUMENTS -- >> ONE OF THE ARGUMENTS I HAVE HEARD IS, WE DON'T LOOK AT GENDER.

>> I'M THINKING ABOUT MORE THAN JUST THE MALE-FEMALE DIVIDE.

>> FOR ME, THERE IS A SENSE THAT, WHEN I LOOK AT ARTISTS, I TREAT THEM EQUALLY.

THAT IS FOR ME, A RULE.

THERE IS EQUALITY ALREADY IN MY GALLERY.

>> HOW IS THAT POSSIBLE THAT GENDER ISN'T PLAYING SOME PART OF THAT?

IT HAS TO.

>> YOU THINK YOU ARE BEING FAIR BUT WHEN YOU SEE THE NUMBERS IN YOUR FACE, IT IS A DIFFERENT STORY.

IT IS LIKE IAN TOLD YOU ARE RICH ALL THE TIME AND YOU REALIZE YOUR POOR.

>> ON OTHER THINGS THAT GALLERIES WILL SAY IS, WE JUST LOOK AT ART THAT IS GOOD.

THE IMPLIED MESSAGE IS THAT ART BY MEN IS 70% BETTER THAN ART BY WOMEN.

>> THERE HAVE BEEN MANY PHILOSOPHERS WHO HAVE TRIED TO DEFINE WHAT QUALITY IS.

SOME SAY THE QUALITY LIES STRICTLY WITHIN THE WORK, WITHIN THE AESTHETIC COMPONENT OF THE WORK.

OTHER PEOPLE SAY THE QUALITY IS SOMETHING THAT EXTENDS BEYOND THE WORK AND HAS SOMETHING TO DO WITH THE CONCEPTUAL INTERACTION BETWEEN THE WORK AND THE VIEWER, OR BETWEEN THE WORK AND THE MAKER.

THERE ARE ALL KINDS OF DIFFERENT THEORIES.

BUT IN THE END, YOU CANNOT SEPARATE THE QUESTION OF QUALITY FROM THE PERSON WHO DEFINES QUALITY.

THOSE TWO ARE INTRICATELY CONNECTED.

>> THROUGHOUT HISTORY, THE PEOPLE DECIDING WHAT WAS GOOD AND THE PEOPLE SHOWING THEIR WORK WERE MEN.

FOR ME, IT GETS DOWN TO THE MARKET.

I'M INTERESTED TO KNOW WHY AND WHAT I CAN DO TO CHANGE THAT.

>> ONE REASON THAT THERE ARE SO MANY GALLERIES THAT ARE NOT SHOWING VERY MANY WOMEN IS BECAUSE COLLECTORS AND MUSEUMS IN A NOT SMALL PART DRIVE WHAT IS GOING INTO THE MARKET.

WE HAVE TO SELL WHAT PEOPLE WANT.

>> YOU ARE LISTENING TO WHAT YOUR COLLECTORS WANT.

THEY WILL EXPRESS INTEREST IN THE WORK THEY SEE IN YOUR GALLERY OR AT AN ART FAIR.

IT IS A REFLECTION -- IF YOU ONLY HAVE 10% WOMEN, THERE IS NOT MUCH OF AN OPPORTUNITY FOR WOMEN TO GET EXPOSURE.

>> MOST COLLECTORS ARE NOT AWARE OF THE ENORMOUS POWER THEY HAVE IN ACTUALLY, NOT ONLY SHAPING THEIR OWN COLLECTIONS, NOT ONLY SHAPING THE SUCCESS OF A PARTICULAR GALLERY, BUT ALSO IN THE LONG RUN, SHAPING WHAT EVERYBODY SEES IN THE MUSEUM.

>> COLLECTORS OFTEN LOOK TO GALLERIES AS A KIND OF -- AS SOMEONE WHO WOULD DETERMINE WHAT IS VALID, WHAT IS GOOD, WHAT IS IMPORTANT.

THE GALLERIES SERVE THIS SORTING FUNCTION.

>> THE ART MARKET IS NOT A OBJECTIVE THING, AND OBJECTIVE TRUTH.

IT IS SOMETHING THAT WE CREATE AND WE HAVE THE POWER TO INFLUENCE.

WE HAVE THE POWER TO DIRECT IT IN ANY DIRECTION WE WANT TO.

>> IT HAS TO BE MORE THAN JUST A MARKET.

WE ARE DOING SOMETHING OTHER THAN -- I THINK THAT IS PART OF WHAT SHE IS GETTING AT.

WE COULD JUST SAY, SCREW IT, WE'RE JUST GOING TO SELL HANDBAGS INSTEAD.

BUT IT IS ART.

IT IS A MUCH BIGGER THING.

TO ME, THAT IS AN IMPORTANT PART OF WHY THOSE STATISTICS ARE INTERESTING AND WHY IT MATTERS THAT PEOPLE THINK ABOUT IT.

>> THIS KIND OF INTENSE CONFLUENCE OF FORCES AROUND GENDER, ART AND THE ECONOMY, ALL SEEM TO BE AT STAKE FOR THE ARTISTS THAT ARE INVOLVED.

IN THAT SENSE, AGAIN, THERE IS NO EASY ANSWER FOR ANY OF THOSE THINGS.

BUT TO BE INVOLVED IN A GROUP OF PEOPLE INTERESTED IN ASKING THOSE QUESTIONS FEELS REALLY IMPORTANT.

>> THE NARRATIVE THAT WE GET IS A MALE NARRATIVE.

SO WE ARE MISSING OUT ON ALL THOSE EXPERIENCES THAT DON'T FIT INTO THAT.

>> THE ART THAT THE PEOPLE GENERATE IS ONE OF THE MOST IMPORTANT AND DEFINING ELEMENTS THAT TELLS LATER GENERATIONS ABOUT WHO WE ARE AND WHAT WE WERE ALL ABOUT, AND WHAT OUR TIME WAS ALL ABOUT.

>> I'M MAXWELL WILLIAMS, A FREELANCE WRITER IN LOS ANGELES.

CHRONICLE SOUND IS A REALLY INTERESTING PROJECT BY ALAN NAKAGAWA.

HE NOTICED A LOT OF SIMILARITIES BETWEEN THE SAGRADA FAMILIA AND THE WATTS TOWERS, A WEIRD MASTERPIECE IN THE WATTS NEIGHBORHOOD OF LOS ANGELES.

HE WAS GOING TO DO FIELD RECORDINGS IN AND AROUND BOTH OF THESE BUILDINGS.

THE IDEA WAS THAT HOPEFULLY THE SOUNDS WERE GOING TO BE VERY SIMILAR AND THE SOUND WAVES WERE GOING TO HAVE SIMILAR SHAPES.

HE IS APPROACHING SOUND FROM THE MUSICALITY OF THE UNIVERSE.

HE IS RECORDING THINGS AND PLAYING THEM BACK TO YOU IN A WAY THAT ALLOWS YOU TO TAKE THESE TWO PLACES AND PUT THEM BASICALLY INTO ONE PLACE.

IT IS A LITTLE BIT ESOTERIC, BUT ALSO WHEN YOU ARE HEARING IT, YOU ARE ABLE TO SEE AND TO FEEL AND SORT OF ENTER THIS EXPERIENTIAL SPACE WHERE YOU ARE LIKE, I GET IT.

I'M IN BOTH WATTS TOWERS AND THE SAGRADA FAMILIA AT THE SAME TIME.

IT KIND OF A RACES THE IDEA OF SPACE AND TURNS YOU INTO KIND OF AN ALL HEARING GOD IN SOME WEIRD WAY.

>> 5, 4, 3, 2, 1 -- [INAUDIBLE] >> RIGHT BEFORE THE CAVITY, RIGHT THERE.

RIGHT THERE.

THAT WILL BE GREAT.

>> LET'S PUT IT ON RECORD AND START RECORDING.

>> 5, 4, 3, 2, 1 -- [ORGAN MUSIC] >> FOR DECADES, I'VE BEEN THINKING ABOUT THE SIMILARITIES BETWEEN THE WATTS TOWERS AND WORK IN BARCELONA.

YOU DON'T EVEN HAVE TO TALK ABOUT IT, IT IS OBVIOUS.

YOU LOOK AT THEIR WORK, IT IS VERY SIMILAR.

ONE CONNECTION IS THIS USE OF THE KONA GRILL -- CONICAL SHAPE, THE SPIRE, THESE TOWERS.

>> GENERATING SOUND INTO OR AROUND OR THROUGH SPECIFIC ARCHITECTURAL SPACES IS DOCUMENTING THE SOUND THAT ALREADY EXISTS WITHIN THEM.

THAT IS UNIQUE TO THOSE ARCHITECTURAL SPACES.

>> WE PLACE THREE RECORDERS AT ABOUT THREE TRIANGLE SHAPE BASES AT WATTS TOWERS.

WE WENT ANOTHER DAY AND I PUT CONTACT MICS ON THE TOWERS.

IT IS A VERY LIVELY SOUND.

ALMOST VIOLENT.

WE GOT TO GO INTO THE SAGRADA WHEN IT WAS CLOSED AND RECORD EVERY HEIGHT LEVEL.

YOU COULD ALMOST SEE THE SOUND MOVE THROUGH THE CEILING.

BECAUSE I HAVE FIELD RECORDINGS OF VARIOUS LOCATIONS, I WANT TO COMBINE THEM AS TO MAKE A NEW SPACE, LIKE A PLACE THAT DOESN'T EXIST.

I DON'T USE THE FIELD RECORDINGS AS IS.

I PUT IT INTO THE COMPUTER, AND I WILL PLAY WITH THE EQ AND TRY TO FIND WHICH EQ SETTING SEEMS TO CAPTURE THE TONALITY OF THAT PARTICULAR SPACE.

I'LL USE THE SAME RECORDING AND PUT IT ON ANOTHER TRACK AND TRY TO CAPTURE A DIFFERENT TONE.

WHAT I'M LEFT WITH IS THIS SORT OF COLOR SWATCH IN 17 MINUTES OF RECORDING OF AN INTERIOR SPACE.

THIS SEEMINGLY LARGE BAND OF SOUND, BUT WITHIN THAT LARGE BAND, AS YOU LISTEN, IT IS MOVING.

IT BECOMES LIKE AN ORGANISM.

THAT IS WHAT I'M SHOOTING FOR.

IT IS THIS EXPERIENCE OF THIS BROAD BAND THAT LOOKS MONOLITHIC , BUT AS YOU KEEP EXPERIENCING IT, IT IS VERY MUCH ALIVE.

[AMBIENT NOISE] WHAT I'M DOING IS ADDING TEXTURES AND COLORS AND SOUNDS THAT I FEEL ENHANCE WHAT IS HAPPENING WITH THOSE FIELD RECORDINGS.

I APPROACH MY SOUND AS IF IT WERE THESE DIGITAL ELEMENTS.

DEFINITELY NOT JUST ABOUT SOUND, NOT JUST ABOUT VISUALS.

IT IS THE TACTILITY OF IT THAT EXCITES ME.

[AMBIENT NOISE] >> DAVID MAKES THESE VIRAL VIDEOS, LIKE A YOUTUBE CHANNEL.

YOU DON'T KNOW MUCH ABOUT THESE GUYS.

YOU ARE LIKE, WHO IS THIS PERSON?

THESE ARE THESE WEIRD, WACKY VIDEOS WHERE IT IS THIS HUMAN BEING AND HE ALMOST LOOKS REAL BUT HE IS NOT.

IT IS THESE WILD VIDEOS.

WE STARTED DIGGING AND DOING SOME RESEARCH AND WE FIGURED OUT THAT IT WAS THIS GUY NAMED DAVID.

WE WROTE HIM AND WERE LIKE, WE REALLY LOVE WHAT YOU DO.

YOUR VIDEOS GET 15 MILLION HITS.

WHAT ELSE TO YOU DO WITH YOUR TIME.

HE HAD NEVER TALKED TO ANYONE BEFORE AND HE WAS LIKE, LET'S DO IT.

I'LL TELL YOU WHAT IS GOING ON.

HE HAD BEEN IN "TRON," DOING THE DIGITAL FX.

HE HAD DONE OUTKAST MUSIC VIDEOS.

HE DIRECTED THIS FLYING LOTUS VIDEO WITH ELIJAH WOOD AND IT.

IT WAS A WAY THAT THERE COULD BE THESE TWO DIFFERENT PATHS WITH THE YOUTUBE CHANNEL AND THIS PROFESSIONAL CAREER AND THEY COULD BE CAP SO SEPARATE THAT NO ONE REALLY KNEW.

HE SPENT SO MUCH TIME ON SOMETHING AND DIDN'T CARE IF HE GETS RECOGNITION FROM A WIDE AUDIENCE.

IT IS JUST HAVING TO PUT THAT OUT THERE.

THAT IS SOMETHING COOL ABOUT DAVID.

HE HAS THIS SYSTEM WHERE ONE SIDE IS MORALLY BANKRUPT WORK THAT HE DOES AND ONE SIDE IS EXACTLY WHAT I WANT TO DO.

HE WILL DO THINGS FOR MONEY ON THIS END OF THE SPECTRUM AND THEN HE TAKES THAT AND MAKES EXACTLY WHAT HE WANTS TO.

THAT IS WHERE ANIMATION COMES, ON THAT SPECTRUM.

WHEN YOU HAVE THE ABILITY, YOU HAVE A LITTLE EXTRA INCOME TO BE LIKE, I CAN JUST TRY WHATEVER I WANT.

NOTHING IS STOPPING ME.

>> I GREW UP AROUND ARCADE.

IT IS A BIG PART OF MY LIFE.

I DON'T KNOW WHY ARCADE CULTURE AND ARCADE GAMES ARE SO PREVALENT, BUT I'M HANGING ONTO IT PRETTY DESPERATELY.

AS A LOT OF THINGS FADE AWAY AND BECOME IRRELEVANT, THIS IS STILL IMPORTANT.

IT TOOK ABOUT A YEAR OF FILM SCHOOL.

IF YOU TALK TO ANYONE I WENT TO FILM SCHOOL WITH, THEY WILL TELL YOU I HATED IT.

I DIDN'T LIKE THE IDEA OF BEING A PA OR TRYING TO GET INTO A GUILD FOR MANY YEARS.

IT WAS -- MAYBE I WAS TOO LAZY OR UNINTERESTED BY IT.

I HAD TO DO SOMETHING ELSE.

I BUILT A NAME FOR MYSELF AS ONE OF THE BIG FREELANCERS IN L.A.

I MET THIS GUY, JAKE SERGEANT, AND THIS GUY BRADLEY, WHO BROUGHT ME INTO DO "TRON."

THAT IS THE MOST VISIBLE WORK I WILL EVER DO IN MY CAREER.

EVEN IF I DIRECT A FILM AND IT IS A SMASH HIT, IT WOULDN'T COME CLOSE TO THE PENETRATION SOMETHING LIKE "TRON" HAS.

WHEN YOU ARE THAT YOUNG AND DOING THE MOST VISIBLE WORK IN YOUR CAREER, YOU FEEL LIKE EVERYTHING AFTER THAT IS DOWNHILL.

"TRON" WAS REALLY MY SWANSONG TO MOTION GRAPHICS, THE LAST BIG JOB I DID.

MY RESPONSE, EVEN FROM PEOPLE IN MY FAMILY, WAS LIKE, YOU WORKED ON "TRON?"

AMAZING.

SO YOU MADE THE LIGHT BIKES AND THE SHIPS?

NO, I MADE THE LINES, THE LITTLE DOTS AND THE LINES THAT MOVE AROUND.

OH, YEAH, COOL.

THE ONLY THING YOU CAN DO THAT HAS A CHANCE OF BEING REMEMBERED, A SLIVER OF HOPE OF PEOPLE BEING MOVED BY, IS BY DOING YOUR OWN WORK.

THE FIRST ONE WAS MADE AS A SKETCH FOR PART OF A SHOW CALLED "EVERYTHING."

IT WAS THE LONGEST RUNNING CHANNEL 101 SHOW IN THE HISTORY OF THE PROGRAM.

THAT WAS SHOT IN MY ALLEYWAY BEHIND MY APARTMENT.

I JUST PUT HIM IN THE ENVIRONMENT AND SHOWED THIS TO PEOPLE ON MY PHONE.

IT PRETTY UNIVERSALLY GOT A REACTION.

IT WAS LIKE DISCOVERING THAT THIS WAS A THING, WAS PRETTY EXCITING.

I JUST WANTED TO START WORKING ON IT RIGHT AWAY.

I DIDN'T WASTE ANY TIME.

EVEN THOUGH SOMETHING LIKE THAT FEELS LIKE MENTAL ILLNESS WHEN YOU ARE CREATING IT AND IT CAN DRIVE YOU CRAZY, YOU JUST FEEL COMPELLED TO MAKE SOMETHING.

MUSIC IS THE MOST IMPORTANT -- MORE IMPORTANT IN MY LIFE THAN COMEDY OR DESIGN OR ANYTHING.

ONE OF MY FAVORITE THINGS TO DO IS DRIVE AROUND LISTENING TO MUSIC.

MY WHOLE LIFE, I'VE PRETTY MUCH HAD FRIENDS THAT WERE MUSICIANS OR IN BANDS OR DJS.

NOW AS AN ADULT I AM LIKE ABLE TO PARTICIPATE WITH THEM MORE BY MAKING VIDEOS WITH THEM OR MAKING MUSIC WITH THEM.

THIS IS THE ARM FOR THAT FLYING LOTUS VIDEO.

I TOOK A VACATION FROM THE PROJECT AND WENT TO JAPAN.

I COULDN'T GET AWAY FROM THE PROJECT.

IT WAS EVERYWHERE.

WE TOOK THESE SNAPS ONSET AND SENT THE GUY TO GO GET THEM PRINTED.

INSTEAD OF PRINTING FIVE, HE PRINTED LIKE 500.

SO I HAVE 500 PHOTOS OF ELIJAH WOOD.

IT IS ONE OF THOSE THINGS THAT YOU HOPE NO ONE JUST FINDS.

BECAUSE IT IS REALLY WEIRD.

SOME OF THE BEST VIDEOS I'VE SEEN HAVE BEEN WHEN PEOPLE WERE JUST SO INTO THE MUSIC THAT THEY HAD TO DO SOMETHING.

THERE WASN'T A FINANCIAL INCENTIVE OR A CAREER INCENTIVE.

IT IS JUST SOMETHING THEY HAVE TO DO.

PLAYING ARCADE GAMES IS SOMETHING THAT, WHEN YOU HAVE SEVERE ADHD, DESPITE ALL THE NOISE, IT SOMEHOW SHAPES ALL OF YOUR THOUGHTS TO FOCUS ON THIS ONE THING.

THAT CAN BE USEFUL OR MEDITATIVE IN A WEIRD WAY.

THIS IS THE DREAMCAST I'VE HAD SINCE SEPTEMBER, 1999.

IT WAS A CREATIVE PLATFORM, BUT VERY BAD ECONOMIC STABILITY IN THE MODEL.

MAYBE THAT IS A PARALLEL TO MY LIFE.

PEOPLE ARE REALLY ATTRACTED TO PASSION, I THINK.

WHEN YOU ARE PASSIONATE ABOUT SOMETHING, THEY WANT TO HELP YOU.

COULD YOU IMAGINE IF EVERY TIME YOU TRIED -- YOU HAD TO TALK THEM THROUGH THE EXPERIENCE, THAT IS WHY WE HAVE ART.

WE CAN'T SAY EVERYTHING WE WANT TO SAY IN WORDS.

THAT IS REALLY FRUSTRATING.

♪ [CAPTIONS MADE POSSIBLE BY KCET TELEVISION]