Michael McClure

Harry Collings returns home to his farm after drifting with his friend, Arch. His wife, who had given up on him, reluctantly allows him to stay, and soon believes that all will be well again. But then Harry has to make a difficult decision regarding his loyalties and priorities.

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

Takes place over the course of one feverish night in a Manhattan police precinct and neighboring bar.

Over a booze-fueled, increasingly hectic five-day shoot in East Hampton, Norman Mailer and his cast and crew spontaneously unloaded onto film the lurid and loony chronicle of U.S. presidential candidate and filmmaker Norman T. Kingsley debating and attacking his hangers-on and enemies. This gonzo narrative, “an inkblot test of Mailer’s own subconscious” (Time), becomes something like a documentary on its own making when costar Rip Torn breaks the fourth wall in one of cinema’s most alarming on-screen outbursts.

"Human qualities migrate through light and shadow... Like flames and waves, the dead and the living course through this world... without weight through space and time."

Two portraits in relation to each other, the first of Robert Creeley, the second of Michael McClure. Preserved by the Academy Film Archive in 2007.

Life’s good for deliveryman Doug Heffernan, until his newly widowed father-in-law, Arthur, moves in with him and his wife Carrie. Doug is no longer the king of his domain, and instead of having a big screen television in his recently renovated basement, he now has a crazy old man.