To make this film, Huot used twenty-two reels of footage from 1971, as well as other material from found footage and photographs from the same period. Additionally, Huot included a fair amount of unusually intimate (sometimes very explicit sexually) imagery, mostly involving himself, Twyla Tharp (they were married at the time), as well as their son Jesse. These different types of images are integrated into a complex and highly suggestive editing strategy. (Scott McDonald)