Here are the opening paragraphs: “In the 1960s, working in New York, I was part of a group of filmmakers who created films out of almost nothing at all; outdated raw stock, ancient cameras that barely functioned, often borrowed for a few days from someone else, a few lights, the barest outline of a script, and “financing” that consisted of donated labor both in front of and behind the camera. Nobody had any money; we lived in cheap apartments that cost as little as $100 a month, worked a variety of odd jobs to keep the wolf from the door, and plowed nearly everything we made back into films; films that had no market, no commercial value, and were so resolutely personal that it seemed that no one, outside of a small circle of friends, could ever possibly find them of value, worth or interest.
Sync-sound filmmaking equipment, only recently invented at that point, was beyond our financial range; so, like the early silent filmmakers, we were forced back to the primacy of the image, and we created films of deeply romantic intent using a few costumes, borrowed props, and the barest of sets. Another defining characteristic of these films was their calculated sloppiness, since we were dealing with second-, third- and fourth-rate equipment and film that was often of deeply uncertain origin; even then, it was all we could afford. So we would use every possible frame of what we shot, down to the last bit of leader streaked material at the end of the roll, in a desperate attempt to capture every last bit of our vision on film.”