Paul often collaborated with Director/Editor Ernie Fritz while they both worked at the Manhattan post-house, Chromavision: 

"This music video is from the days editors used big switchers, rather than computers,, Edit Decision List (EDLs) rather than graphic timelines and video tape rather than files. 

We worked in huge linear on-line edit suites that looked like the bridge on Star Trek and cost hundreds of dollars an hour. That could intimidate clients on a budget who wanted to spend as little time as possible in those rooms. Ideally all creative decisions were made beforehand in an inexpensive low-resolution offlline edit room. The online was intended to conform the high-resolution images to that decision list - no messing about in the big room. 

Not so with this piece. My friend Ernie did a great job with the offline. But when it landed in my room for the online, there were still a lot of creative decisions to be made and technical challenges to manage. 

For example, normally compositing was planned by shooting in front of a blue screen. But in this case, using the blue water behind frontman J Mascis as a blue screen to key in background images was an afterthought. A clean composite became a big technical challenge. And many of the background images that filled in the water needed to be mapped out on the fly. In fact the director was asking for adjustments all the way through the online process, which was very unusual. 

The opportunty to get that creative in an online edit was fun, but also put a lot of pressure on me. I had to come up with quick solutions to avoid blowing their budget. 

Apparently it worked. This piece had a nice run on MTV and became one of my favorite music videos of the dozens that I’ve worked on. And along the way, I met Matt Dillon, who was a friend of the band and visited the edit!"