The Apparition

A full production: sync-sound drama with cast, crew, color neg., and 16mm wide screen cut-off (normal projector and lens). My intention was to follow James Agee's idea to present "an imaginary story against a background of reality." The imaginary story is of Paul Rose and his past incarnation as a woman in classical Greek times. I collaborated with George Kuchar, who did special sets for the film. A full production: sync-sound drama with cast, crew, color neg., and 16mm wide screen cut-off (normal projector and lens). My intention was to follow James Agee's idea to present "an imaginary story against a background of reality." The imaginary story is of Paul Rose and his past incarnation as a woman in classical Greek times. I collaborated with George Kuchar, who did special sets for the film. A full production: sync-sound drama with cast, crew, color neg., and 16mm wide screen cut-off (normal projector and lens). My intention was to follow James Agee's idea to present "an imaginary story against a background of reality." The imaginary story is of Paul Rose and his past incarnation as a woman in classical Greek times. I collaborated with George Kuchar, who did special sets for the film. A full production: sync-sound drama with cast, crew, color neg., and 16mm wide screen cut-off (normal projector and lens). My intention was to follow James Agee's idea to present "an imaginary story against a background of reality." The imaginary story is of Paul Rose and his past incarnation as a woman in classical Greek times. I collaborated with George Kuchar, who did special sets for the film.