I want to thank Donna, Nancy and all of the folks who have put this memorial together. One thing is certain, Schenectady had a fantastic effect on Joe and he truly evolved as activist and visionary in this remarkable city. He also developed quite a sense of style here. For me there’s a lot of emotion attached to thinking about Joe on a personal level. He was one of my best friends and a tremendous collaborator. He was part of my family. He watched my children grow up. As my eldest son Zac said to me at Christmas, “Joe showed me my first video game, what’s more profound than that”. My wife Meredith and sons Zach and Sammy hoped they could come tonight but couldn’t. They are here in spirit. I’m a very lucky and grateful person because I had the opportunity to spend quite a bit of time with Joe this past year. He spent the past six months renovating a house with me on my street in Wilbraham, Mass. This allowed us to share a lot of meals and watch films on TCM, such as the “The Big Sleep” &“2001: A Space Odyssey”. Joe could tell you every lens that Kubrick used to make that film. Joe also worked on numerous major productions with me over the past few years in NYC always excelling at whatever task and role he played. I first met Joe on a Minnechaug Regional High School bus on my way to my first girlfriends’ house in Hampden, Mass. He wore a green army jacket and spoke about hopped up engines and Demo Derbies at Riverside Amusement Park, now Six Flags. Little did I know the history we would share over the next 42 years. Tonight because many of you may not know of his incredible body of film work I focused on and have selected for the most part his pre-Schenectady film projects including a never before seen film we did together in 1983. I’m going to take a moment to set up some of the clips and times they were made in. Joe loved films from an early age. We were not in the same high school class. However, we were in the same innovative video program called Project Blueberry. The equipment was fairly crude; portable black and white 1/2” reel to reel video. However, the teachers were great and the standards for the most part high. The next time I met Joe was at School of Visual Arts. SVA has gotten a huge nod in the past few months because of a show at the Museum of Modern Art called Club 57: Film, Performance, and Art in the East Village. I highly recommend it. The art scene of the East Village in the 70s and 80s was part of a world fueled by low rents, the Reagan presidency, the gathering of like minded youth and the desire to experiment with new modes of art, performance, film, fashion, music, and exhibition. This was the world Joe, me and many others were immersed in and it had a profound effect on many of us. There was no doubt Joe was a bona fide maverick. The ideas, the political perspective, the openness to high and low art, the love for innovative science and engineering; they were a result a mind filled with imagination. Many of his heroes such as Edgar Allen Poe, Nikolai Tesla and Izetta Jewel shared this with him. The 1983 “The Men’s Store” is a film that Joe asked me to transfer to digital video about six months ago. He never had a chance to see this footage. The story was about a suburban mall prostitute who succeeds in breaking out from under her oppressors. The star Laurie Babineau is here tonight. Joe shot this in 16mm reversal film. Though Joe began his long collaboration with my company American Montage in 1990 by building the sets and props with his cousin Nick for commercials I was making for an eyewear company. He really began working with AMI in 2000 when Joe and Nancy we moved to NYC. We then began a very intense period of creativity and dealing with New York City.Joe was working for me 911 happened. My sons were going to PS150 a school four blocks from the World Trade Center. Once I realized what was happening I knew I had to go to them. I called Joe at the office and asked him to grab our best camera and go to West Broadway and Broome and start filming which he did. The resulting footage affected us all. We ended up selling some of the footage to A&E and donated most of the money to the Great Jones Firehouse which had lost ten men. Joe and I watched the footage in its entirety this past 9/11 at my house. Over the past 17 years we worked on incredible number of commercials, documentaries, educational and narrative films as well as music videos. Joe loved motion graphics and real life special effects work. I’ve included a series of titles sequences and samples from some of these excellent projects. Some were high budget and eloquent others low budget and bloody. All were done with Joe’s particular style and panache.. Perhaps the most amazing of these clips is final work film he did; doing camera on Lee Breuer & Maude Mitchell’s play “Glass Guignol” in NYC with my wife and I just before Christmas. Thank you Joe for all of your exceptional contributions to so many people & their projects.