Letter from James Broughton to Robert Haller (2/22/1974)

Feb 22, 74
Fear Bob:
Here enclosed is outline of projects we might do. At least one of them, hopefully. No 1 is possibly the most convenient to set up for evening meetings, provided that you can recruit enough willing examples. This can of course be spread out over several evenings. I would like to think we could come out of a week's intensive work-play with enough material for a stunning film. If we could also include No 4 in the game,
I would be even happier. But I am not expecting the
impossible. I know by now that one c an only hope to make the poems one has in mind.
I would also like to do the shadow scene, if good performers for it can be found. It only requires persons who are lithe and can improvise and have, obviously, well defined contours. It is a kind of dance, hovever, so that should be born in mind.
Why not ask Bob Baylor to give you assistance in all this casting? I am not asking for great actors, but I would need many agreeable persons, beyond, the class unit.
Orifice can be done in black and white, if it has the deepest intensity. Or, Kodachrome II. I want strong contrasts, a Sternberg light.
I am still waiting to hear when I am supposed to arrive, and how I get there. Am I to advance the plane fare myself? Is there any point in my bringing my films along?
And I await further news about the grant you mentioned.
I have decided, this round to do it simply, and not give you a complicated script requiring actors, scenery, costumes.
I want it to be a joyful get-together. I only hope that people in Pittsburgh are as willing to be photographed pure as those around San Francisco.
Best wishes. Yours,
Broughton Projects, March 1974
A close-up film of the sensory centers of the body.
(Companion to Golden Positions, this is the golden 'parts'.)
Many close-ups of many different mouths, nostrils, eyes, ears, navels, nipples, genitals and anuses.
By many I mean many: equally male and female.
Everyone can participate, and everyone else who is game.
Entirely close-up. Requires best lens for close work.
Studio space. Lights.
Can be a continuing exploration through the week.
Also, as accompaniment, I would like to record separately different voices pronouncing the vowel sounds, A E I 0 U.
A long single take of the shadow movements of a man and a woman.
This requires experimenting with shadow screen and lights for best results.
Requires 2 beautiful people, man and woman, preferably who have training as dancers. They must be able to move freely, fluidly, expressively; with abandon , but a sense of what their bodies are doing.
This needs rehearsal. (Have you a color wheel light?)
III FIRE CEREMONY. (Veather & other logistics permitting)
This is more complicated.
Requires a 'magic' setup at blast furnace.
A flaming Angel.
Two priestesses, at least.
A vessel to contain fire, or burning liquid.
This can be as elaborate as we can make it. Which is probably why we can't make it anyway.
Sequel, or corollary, to ORIFICE above.
Another close-up film, easy to set up.
Various, if not quite all, forms of touching.
Touching humans, that is. The touch of the hand upon the body, skin, parts of. Endless combinations of persons touching one another. No faces in this.
Again,, this requires quite a few willing persons and nudity.
Some brief takes of myself in odd locations around Pittsburgh. Daytime, exterior. ECO.
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