Richard Myers

“I think 37-73 is an extraordinary work, and the best of [Myers’] long films. I am astonished by his skill in image making, and his power to evoke the crazy pain of being an artist. It is a haunting work, with unforgettable scenes ….” – James Broughton

“Richard Myers’ 37-73 was far and away the most noteworthy film in the Exposition (9th Annual Independent Filmmakers Exposition). In fact, Richard Myers is, in my opinion, one of the few innovative conceptually oriented filmmakers in the country. As powerful and complex as is AKRAN, 37-73 is more taut, richer in associative meaning …. 37-73 is about dreams, about memory and its associations with nightmare and magic.” – Owen Shapiro

“Through Myers’ so eloquently expressed dream world we’re able to perceive the entire panorama of the specifically American imagination. It’s as if he’s tapped our collective subconscious.”—Kevin Thomas, LA Times.Read More »

B&W, SILENT.

“Light as the symbol of the ineffable. The ‘plot’ of this subjective recreation of a dream seems to concern a mysterious journey; the spectator, however, is visually directed toward forms and substances rather than to the protagonists by a filmmaker who is a master of visionary cinema.” – Amos Vogel, Film as a Subversive Art

“Richard Myers has, thru his films, given us the ONLY consistently creative variable to dream-thinking in our time. All else, in film, slides toward surrealism and/or props itself with misplaced Freudian symbols, at best, or else gets lost in the Jung-le, at the verses. Myers’ work is rooted in what he doesn’t know about, just exactly what he knows – his own home grounds mid-America, and like D.W. Griffith he takes the great risk of being native to his art, attending it on its home-grown grounds/his-UNowned-dreams.” – Stan BrakhageRead More »

A feature-length deluge of incessant, brilliant bursts of images (short takes and jump cuts, single frames in series, freeze-frames slightly altered between takes) it creates a Joyce-like dense and sombre mosaic of memory and sensory impressions, a texture instead of a plot, a dream-like flow of visually-induced associations often flashing by faster than they can be absorbed. Described by the director as an ‘anxious allegory and chilling album of nostalgia,’ its penetrating monomania is unexpectedly — subversively — realized to be a statement about American today: the alienation and atomization o technological consumer society is reflected in the very style of the film.Read More »

A children’s art project done at the Norton, Ohio Elementary Schools in 1962. Using scrap wood the 4th, 5th, and 6th graders plan and make wooden sculptures that have a primitive totem-like quality. Professors James M. Someroski, and Marlene Mancini Frost of Kent State University assisted in the making of the film. Professor Fred Coulter composed and played the music.Read More »