Jonas Mekas (1922- )
Guns of the Trees (1962), 75 minutes
Film Magazine of the Arts (Summer 1963), 20 minutes
The Brig (1964), 68 minutes
Award Presentation to Andy Warhol (1964), 12 minutes
Report from Millbrook (1965/1966), 12 minutes
Walden (Diaries, Notes, and Sketches), (filmed 1964-68, edited 1968-69), 3 hours
Hare Krishna (1966), 4 minutes
Notes on the Circus (1966), 12 minutes
Cassis (1966), 4.5 minutes
The Italian Notebook (1967), 14.75 minutes
Time and Fortune Vietnam Newsreel (1968), 4 minutes
Reminiscences of a Journey to Lithuania (1971-72), 82 minutes
Lost, Lost, Lost (1976), 2 hours, 58 minutes
In Between : 1964-8 (1978), 52 minutes
Notes for Jerome (1978), 45 minutes
Paradise Not Yet Lost (a/k/a Oonas Third Year) (1979), 96.5 minutes
Street Songs (1966/1983), 10.5 minutes
Cup/Saucers/Dancers/Radio (1965/1983), 23 minutes
Erik Hawkins: Excerpts from "Here and Now with Watchers"/ Lucia Dlugoszewski Performs (1983), 5.75 minutes
He Stands in a Desert Counting the Seconds of
His Life (1969/1985), 2.5 hours
Scenes from the Life of Andy Warhol (1990), 35 minutes.
Mob of Angels/The Baptism (1991), 60 minutes.
Dr. Carl G. Jung or Lapis Philosiphorum (1991),
Quartet Number One (1991), 8 minutes.
Mob of Angels at St. Ann (1992), 60 minutes.
Scenes from the Life of George Maciunas (1992),
The Education of Sebastian or Egypt Regained (1992), 6 hours. Video.
Imperfect 3-Image Films (1995), 6 minutes.
On My Way to Fujiyama I Met...(1995), 25 minutes
Happy Birthday to John (1996), 24 minutes.
Memories of Frankenstein (1996), 95 minutes.
Birth of a Nation (1997), 85 minutes.
Scenes from Allens Last Three Days on Earth as
a Spirit (April 1997), 67 minutes. Video.
Letter From NowhereLaiskas is Niekur N.1
(1997), 75 minutes. Video. In Lithuanian.
Song of Avignon (1998), 5 minutes.
A Note on Filming Cassis:
The year was 1966. The month of July. I was visiting Jerome Hill, who had made a film about Schweitzer and, a few years later, made his masterpiece, Film Portrait. Jerome loved France, especially Provence. He loved Provence so much that he decided to buy a little spot in Cassis, which he did. He spent all his summers in Cassis. The spot he had acquired was the most unique spot in Cassis. It was a spot on which stood a little white house in which Napoleon used to stay. Later, much later, Churchill used to come there and paint. But for me, the most exciting piece of information about it was that right behind it, on a little hill, there was another spot: the studio of Seurat. From that spot Seurat watched the light changes on the bay of Cassis, and painted his incredible pointilistic canvases. Jeromes, that is, Napoleons house stood on the shore of the sea. By the way, in Jeromes house, there were several original beautiful Seurat paintings.
My window overlooked the sea. I sat in my little room, reading or writing, and looked at the sea. The sun was doing wonderful things on the surface of the sea. As the day progressed, and into the evening, and especially in the evening, as I looked at the sea, and the light, I thought I began understanding Seurat: Seurat was a realist painter. I could see from my window the same pointilistic imagery, the same play of light. It was the angle, the special angle, the special spot which Napoleon chose, and which Seurat chose, that made it so. Same as when I visited Cezannes studio and home, I began understanding Cezanne: he was also painting what he saw.
I decided to place my Bolex exactly at the same angle of light as Seurats, and film the same view, from morning till after sunset. I was curious to know or rather see how the sea was changing, as the day progressed, and if it had any information about what Seurat saw. Not having a tripod, I tied my Bolex with a string on the balcony outside my window, and began clicking, a few frames every few minutes. Very soon the string got loose and my Bolex began moving this way and that way. I thought what the heck, let it move, and I continued my single frame filming all day long and into the night. Jerome was very curious about the results of my obsession.
Later I looked at the film, and I was not sure what it told me about Seurat. But years later, Jean-Jacques Lebel, the French artist, and a good friend, who knew nothing about my intent or reasons, but who knows Cassis very well, told me how amazed he was that the film had caught the light and the colors and the textures of the painters who painted the same or similar views years and years earlier.
A footnote on Jeromes love for Provence: when Jerome died, in 1972, in his will, he established a Camargo Foundation, operating from his Cassis home, to support exclusive research into the history, culture and language of Provence.
August 19, 1998