March 23, 2003|She looks a little like the subject of one of her own films: vaguely Bohemian, artsy, with the air of one invested in the secretive, slightly disassociating practice of creation. I met Lisa Cholodenko at Denver's Hornet restaurant, just across the street from the Landmark Mayan theatre on a clear, warm Colorado winter's afternoon. In town for an advance screening of her new film Laurel Canyon that took place the night before, this day found her badly in need of a quick nosh after a mad morning with the florid bouquet of the Denver media (badly in need of pruning so that the live ones can flourish). Ms. Cholodenko speaks succinctly and carefully--she can seem a little defensive at times, the source of her discomfort possibly having something to do with the speed with which her work has been politicized along sexual (lesbian) lines. But over two orders of the restaurant's lovely Mayan Salad (get it with the dressing on the side), I found Ms. Cholodenko to be curious and warm as we dished a little on the ultimate failure of The Hours and the essentialness of New Order's "Brotherhood" album (and Antonia Bird's Ravenous). I asked her how she got her start as an editing assistant on John Singleton's Boyz N the Hood.