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In his short films, compulsive shooter John Wilson combines a nervous voiceover with impossible amounts of nonfiction footage; the joke often alternates between the unexpected metaphorical/pun juxtaposition of dialogue with shots selected from his vast archives and sometimes nerve-wracking encounters with assorted eccentrics. That seemingly free-form structure, in which Wilson's voice ties many disparate elements together, was established in shorts with titles like How to Walk to Manhattan and H...
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