Himself
Yield to Total Elation explores the life and work of the enigmatic and visionary artist Achilles G. Rizzoli. A mundane architectural draftsman by day, the architectural transcriber of the divine by night, Rizzoli created elaborate Beaux-Arts influenced monuments which would never be built. Accompanied by his witty and poignant commentary, the drawings served as translations for the voices and the hallucinations that haunted him. By deftly weaving Rizzoli's words, archival footage, photos and evocative present day scenes of San Francisco's historic architecture, the film tells the story of Rizzoli's life and his work -- an exaltation of architecture as pleasure, as memorial, as redemption.
A ‘film wake’. Though celebratory in mood, it has a mournful subtext… death and dying. We dedicated it to Dr. Sam West, departed friend and patron of the arts, trusting that his ghost would approve our hi-jinx and seeming irreverence.
Himself
Alrededor de cinco de los artistas con sede en San Francisco y sus familias eran amigos íntimos cuyas carreras entrelazadas contribuyen a la rara intimidad de los retratos. Por orden de aparición, los perfiles son el pintor/escultor/cineasta William T. Wiley, el cineasta Robert Nelson, el pintor William George Allan, el pintor/escultor William Geis y el pintor/escultor Robert H. Hudson.
Director
Shooting in 1966 without script, story, or any narrative preconception, Nelson and Wiley created a masterwork of ‘60s independent cinema. The Great Blondino follows an anachronistically attired young fellow as he navigates a beguiling, sometimes troubling world with a curiosity that opens us wide to the filmmakers’ inspired, freeform vision. In many ways, the wonder of Blondino may echo the excitement of invention and exploration that Nelson and Wiley experienced in the making of the film. Utterly exuberant and freed from rote cinematic restriction, it embodies an artistic rigor and direction that also prevents it from ever seeming too unhinged. An incredible feat of tightrope walking. —Mark Toscano
Dr. Otis Bird
The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time. —Andy Ditzler
Director
The Off-Handed Jape is an afternoon’s lark made by Nelson and his artist friend William Wiley. The two men perform whimsical actions and poses for the camera, then recontextualize this imagery by improvising their own commentary on the action at a later time. —Andy Ditzler
Set Designer
"Dada-inspired performance in which absurd actions take place in an environment of strange symbols and graphic forms." -Mark Webber. Design by William T. Wiley and Robert Hudson. Sound collage by Steve Reich.
"Dada-inspired performance in which absurd actions take place in an environment of strange symbols and graphic forms." -Mark Webber. Design by William T. Wiley and Robert Hudson. Sound collage by Steve Reich.
