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The filmmaker noted for Sebastiane and Edward II , among other works, discusses his life and art, detailing his sexual awakening, the libidinous excesses of the sixties, his experiences in gay culture, and more.
every morning to make their opium tea. In the bookshop I bought all the City Lights poetry books that had been so difficult to buy in London. Corso and Ferlinghetti, Ginsberg and Kerouac, including Henry Miller's Big Sur and The Oranges of Hieronymous Bosch: and when it was time to go, took off to the south after Ron had promised to return to England early next year: 57 In the common silence of the world the white Poppies of my love are dancing. NOVEMBER 1982. BERKELEY California. The sweet
Dean] 61 For the first time I could view myself in the mirror — I became aware of how I looked and how I dressed. I discovered that I was handsome enough and with new confidence and sympathetic friends, I made some first faltering steps into the 'art world'. And as my own repressed past broke up like ice in a spring thaw, so did the old England which had produced it. BUILDING FOR PLEASURE January 1965, Priory Road: Peter Cook was here to look at Dougal's work, and we fell into a row about
everyone calls me 'the artist' and the sets, rather than his lighting, are the continual topic of conversation. Today, Charlton Heston was sitting in the projection-room — he has a hide like tanned leather. Revolting afternoon at the plague pit: it is composed of dummies and extras made up as corpses. Ian laid in gallons of real blood from the abattoir — splashed all over the place, it attracted clouds of wasps which made it almost impossible to act dead. Ken, as usual, stormed around, the
workshops, and it's crammed with the furniture that we are painting. There are chairs, tables, trays, screens, crockery. Bill Woodrow and Paul Dufficey are helping to paint the more difficult pieces, which have been made in the studio workshops or bought from Junk City. The pottery is being fired at Wimbledon and looks indistinguishable from the originals. Paul has developed a facility for forging Gaudier drawings: he began by copying them; then introduced variations; and can now turn any goose
structured around a series of cryptic phrases which appear briefly in the film as Penny types them with one finger — these are some of them: SLNC IS G LD N Little by little the sun has imprinted its image on earth and that image is GOLD. — Then others titled 'The Kingdom of Outre Mer' and 'Ronde de la Mort'; the work changed from day to day like a kaleidoscope. I wrote in the diary - 'I've failed to From In the Shadow of the Sun, 1974 - The Kingdom over the Sea From The Art of Mirrors, 1973