Pastorale d'été

Hindle's prize-laden work of cataclysmic visual and mental schisms stands as one-of-a-kind. Human universals crammed into a moment (infinity?) in one small enclosure (the universe?). The identifying viewer will judge.

A wordless impressionistic 'documentary' about a boys' camp.

Presaging details and intent of the Charles Manson's cult and actions was not meant to be one of this film's greater attributes. It was, however, filmed uncannily months before the facts were known. The resemblance is oblique. The film: the mysticism of a "calling," a journey to be made, a vision in mid-desert to behold and oneness with it all. Filmed in Death Valley.

Renewed income and the ability to work on one's own produced this feeling and work. A Promethean awakening, de-bonding of the human spirit ... reaching for the unfiltered blaze of Light and Life. The driving sounds of heart beat, fanfare for the Common Man and devotional chants. A time of sharing ... a touch of vision in the night.

Abstract visual poem celebrating the freedom of bodies moving through water. A filmmaker unconcerned with plot films the practice of an olympic swimming team and creates a visually stunning work.

This remained in limbo for 24 years. The only people to have ever seen it were a few handfuls of Hindle's and, later, Shellie Fleming's students. Working from the only surviving print and Will's original magnetic sound masters, the Academy Film Archive has restored the film. Additional Will Hindle films are also in the process of being restored. Preserved by the Academy Film Archive in 2011.

What happens to a corporeal system when it's exposed to rabies and yellow fever.

"I had an idea for quite some time for a film based on an essay by Lewis Thomas taken from a book that Will had lent me. Yes, the essay was ... I was sure … written just for me. It was called 'The Selves' […]" (SH)

Set to the music of Hindemith, filmed entirely in a Gothic cathedral and edited to precision counter-point. An almost somber beginning that rises to brilliant exaltation. As with PASTORALE, extremely innovative for its day and even now. Entire film was an "optical print" to retain light nuances. Has never been placed in competition.

During the 1970s I shot, helped to make, or commissioned about ten document films, mainly about film-makers. This film is one of them. It was made with Dan Ochiva, who acted as cameraman on about half of the footage. I shot the rest, and then edited the film. It is a record of a conference held at the State University of New York at Buffalo on March 22-25, 1973. Among the participants filmed were Gerald O'Grady (who organized the conference), Will Hindle, Stan Brakhage, Jonas Mekas, Robert Creeley, Bruce Baillie, Scott Bartlett, Hollis Frampton, Ken Jacobs, Ed Pincus, Stan Vanderbeek, Ed Emshwiller, Sally Dixon, James Cox. This footage will eventually become part of my film PEOPLE, PLACES, THE 1970S. –R. H.

Hindle's first all-southern-made work, filmed shortly after moving his studio from San Francisco to the lower Appalachians. Jackie Dicie sings the song in disruptive out-of-synchronization. It is Hindle's first-water attempt to express the southern country mode of existence ... the alone woman and the lonesome land. Preserved by the Academy Film Archive, in partnership with Pacific Film Archive, in 2012.

A rude and abrupt departure from Hindle's two early visual poems. Between those early works and MERCI, Hindle was sought to film the Winter Olympics, 150 short works for Westinghouse/CBS, and the South Sea voyages of Sterling Hayden's schooner, "Wanderer." The inability to get on with his own work produced MERCI. A poignant comment concerning the film artist's dilemma. Aftermaths of Western Civilization. Including never-seen-elsewhere Nazi footage inserts.