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Who was nobody’s victim, not forced to do anything, not the victim of abuse growing up. Also, it helps that there were boobs the whole time. I really like the built-in pauses—whether it’s for narrative tension or testing the audience, it’s authentic to real chat rooms. I’m fascinated by the dynamic of the relationship: I have something you want, but I’m not going to just take off my bra in the first five seconds. There’s a lot of art happening right now that involves patience, where the viewer is just sitting there, usually without any climax, reward or narrative arc. Except there is a tease, a promise of climax, with this. That idea of watching someone sleep, or of watching long, drawn-out conversations that don’t go anywhere.

There are certainly proven cases where this has happened with sex workers. While she was being filmed, was she chatting with you the whole time? We shot in Megan’s apartment and we were actually on Skype giving directions, prompting conversations, wanting her to respond naturally. The promise of sex or nudity (or violence for that matter) will always keep people sticking around, in film or anywhere. She said she would take her panties off, but she never does. When I was younger I didn’t understand the power of those films.

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The film depicts an entire session with a chat girl, complete with lots of tits, topless violin playing, a Kramer-esque gay nextdoor neighbor and an altercation with the SPD.

However, it’s something that if you don’t do it right, you get your nuts nailed to the wall.

As an artist, it creates a climate of I think that’s an unhealthy thing for a creative community to feel. But I was really afraid of how people would perceive that.

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