Naughty Boys was the second film De Kuyper made with friends and students, but here for the first time they were joined by a “professional” actress, Linda Polan. The text below is a testimony of her experience of working with De Kuyper, preceded by an introduction by the Belgian filmmaker. Polan: “Looking back as I write this, a year later, I wonder what it was I was so frightened of. I must admit to a terrible fear of being found unsatisfactory – sent back; returned to the manufacturer, like something on approval from Peter Jones. I suppose it was that.”

“At the age of 18 in 1963, two films that were turning points for me were Fellini’s 81⁄2 and Cléo de 5 à 7 by a French woman, Agnès Varda. I told myself then that painting is not a big loss, dancing is not a loss, writing is not a loss: it is filmmaking that I must do. I felt cinema was the language that I wanted to express myself with. I could understand that the cinema was the most powerful means, the most complete and the most total to express what you want. When I saw the Fellini film, I thought, “I am a woman, I can never be a filmmaker”. But when I saw the film by Agnès, first I thought, “I can make it”. Then I saw that Agnès was a European woman, I was an Arab woman, and there was no chance in hell that I could make it. Lack of models made me feel depressed too. Now I have two films behind me...”

Dit interview van dichter Charles Bernstein met filmmaakster en dichteres Abigail Child uit 1986 werd recent vertaald voor het tijdschrift voor literatuur, kritiek en amusement nY #39 (met een over dossier materialiteit, fragment, montage). Het gesprek tussen Bernstein en Child toont de verwevenheid, de parallellen tussen en suggereert de wederzijdse beïnvloeding van de manieren van werken en denken van Language Poetry en de New Yorkse experimentele filmscène van de jaren 1980. Specifieke manieren van monteren worden vanuit een bespreking van het werken expliciet en concreet gemaakt. 'Experimentele’ literatuur en films vragen wellicht een ‘actief lezen’  in tegenstelling tot een ‘passief kijken’.