When did you first meet Benjamin?
I was filming in Athens, Georgia when Michael Stipe (REM) tipped me off about The Opal Foxx Quartet. At this time, Benjamin was performing in drag as Miss Opal Foxx. He had with him a band of thirteen musicians who were outside of the mainstream but somehow comfortable with each other. Benjamin was very funny and fearless; I was taken from the first show.
Why a documentary on Benjamin?
I had the sense that what he was and what he was doing might not last forever. It was a sort of preservation instinct, trying to get a hold of the flame before it flickered out.
When you found out that he was ill did your approach to the film change?
It increased the urgency to get it done, to finish something that Benjamin would see. His pain was a constant presence, not only because of the HIV, but because he was also an addict. It was difficult to film, but necessary. We were free to shoot whatever we wanted; there was never hesitation on Benjamin's part. He led a rough life yet he continued to make and placed much importance on his music. This was more powerful than his pain. And his sense of humour never diminished.
Why no contributions from friends or family?
It was never intended to be a traditional documentary. I'm interested in making documentaries where you can be taken into someone's world and draw your own conclusions rather than be guided by a point of view.
Read our review of "Benjamin Smoke".
See a video interview with Jem Cohen
