Short film portrait using narration and artworks by Pat O’Neill and edited by Martha Colburn.

Short film portrait using narration and artworks by Pat O’Neill and edited by Martha Colburn.

Short film portrait using narration and artworks by Pat O’Neill and edited by Martha Colburn.

The Ambassador Hotel in Los Angeles serves as the backdrop of Pat O’Neill’s artfully-crafted film. Shot in the classic Hollywood style, the movie follows various mysterious characters as they move through the haunted halls of the hotel, exploring along the way the secrets that are held within.

Pat O'Neill narrates his photographs made between 1965 & 1975 approx.

Has to do with a consideration of one possible conceptual model for human existence: that of a primitive form of yardchair, upon which sits The Creator, impassively observing the inexorable flow of His mountains.

A reflection between nature and man in Los Angeles about the city's surroundings' desertification due to enormous water consumption.

16mm color short from Pat O'Neill, music video for The United States of America

7362 is concerned with dividing and joining together. It begins with two black circles against a white background, knocking together and gradually moving further apart. The circles fade out, and return as white circles against black inside a square. Images similar to Rorschach blots appear. Gradually the viewer realizes that the images were not originally abstract, but were human forms (dancers, gymnasts, etc.), bridges, and others that have been split down the center of the frame, with their mirror images printed on either side of the split. Red, green, and white tints further abstract the images from their original foundations in the natural world, making dancers appear to be amoebas or dividing cells. The accompanying sound track is a mixture of electronic music and musique concrète ("real" recorded sounds manipulated to sound abstract).

A darkish journey down memory lane, to visit some news events, folkways and thought patterns associated with the late forties and early fifties. The film is also concerned with such perceptual phenomena as color-space, "false tones" caused by varying black-white alternations of simultaneously seen rhythms set up by multiple repetitive actions, and the use of image outlines as "containers" for other imagery. Sort of a working notebook, which is continued in EASYOUT and DOWN WIND.