A video portrait of artist, madman and street entrepreneur Denham Arthur Oswald Kelsey, III.

Video autobiography from age six to thirteen. Scenes and narrative shot on location, ending with a video transfer of the actual 16mm film footage of the artist's elaborate wartime Bar Mitzvah.

"Open 7 Days a Week, 24 Hours a Day" is a 15-minute Super-8 color and BW sound film composed of segments shot in New York City during the bicentennial year, 1976, depicting the city at its silliest, most patriotic and most masculine-conscious public time. Preston alternates brief scripted scenes of songs and thoughts, fictionalized encounters and news items with the street footage, much of which was shot from his own window overlooking Avenue of the Americas at 24th St. His own cast of characters intermingles with the characters on the street for a full view of the city's life.

Snippets of New York City caught during Creston’s 15 years as a NYC cab driver, with scenes scripted and edited, and some actual dialogue recorded, with performances by Bill Creston, Barbara Rosenthal, Richard Miller, Lorraine Schanzer, and others. Original soundtrack and song “Taxi-Taxi” by Bill Creston.

Super-8 movie of footage shot in and around New York City in its grittiest days, with collaged audio track of bits of found sound, ambient sound, scripted dialog and original Moog synthesizer sound.

Four brief funny scenes based on real events in this absurdist auteur cineaste’s life. Video and Super-8 pioneer Bill Creston acts as well as directs

Four brief funny scenes based on real events in this absurdist auteur cineaste’s life. Video and Super-8 pioneer Bill Creston acts as well as directs

Four brief funny scenes based on real events in this absurdist auteur cineaste’s life. Video and Super-8 pioneer Bill Creston acts as well as directs

In this short absurdist narrative, casting himself once again as an elderly derelict approached by a passerby. Creston explores conventionality and unconventionality, need and desire, pride and the human condition.

In this short absurdist narrative, casting himself once again as an elderly derelict approached by a passerby. Creston explores conventionality and unconventionality, need and desire, pride and the human condition.