T Independent Features The first feature, THE CRAZY-QUILT, was made for $40,000 with 3 professionals and 12 non-actors, in B&W 35mm, shot in the San Francisco area. Opening in 1966 to a dozen rave reviews, the comic fable put me on the movie map and made it possible to raise independent financing for two more features: FUNNYMAN, starring Peter Bonerz, was a comedy about a member of an improv theatre who wants to do Something Great. RIVERRUN, shot in color on a sheep ranch, was about an unmarried couple having a baby, trying to live the simple life and dealing with a crusty father-in-law. I was writer-director and cameraman on all three productions. T
	T Documentaries My very first film, THE LANGUAGE OF FACES, was shot in B&W on a Bolex about a Quaker peace vigil at the Pentagon in 1960. Only 17 minutes long, it won top prizes at eleven film festivals here and abroad. Through my studio in Mill Valley, California I made more documentaries, eventually starting a 3-year coverage of a family adopting handicapped children. WHO ARE THE DEBOLTS AND WHERE DID THEY GET 19 KIDS? won an Oscar in 1977 and has been broadcast all over the world ever since. My latest is MIRACLE IN A BOX, about piano restoration, craftsmanship, musicians and a rewarding workplace is now appearing in film festivals and being sold online.. T
	T Cable and Televison Films In the early years of network movies, I made THE PEOPLE and GO ASK ALICE (now both cult films). Then I directed THE AUTOBIOGRAPHY OF MISS JANE PITTMAN, starring Cicely Tyson, which won nine 1974 Emmy awards and unanimous praise. I used the leverage from that to get the story of the internment camps, FAREWELL TO MANZANAR, made and on NBC. In all, I made over two dozen movies for cable and television, including RESTING PLACE, LONG ROAD HOME, GETTING OUT, REDWOOD CURTAIN and THE MORRIS DEES STORY. For PBS, I made THE MUSIC SCHOOL, based on a short story by John Updike.. T
	T Animation I started an animation studio while I was in Antioch College and with four student partners, did very short commercials for local TV stations. In 1964, my satire on smoking, BREAKING THE HABIT was nominated for an Oscar. After that, I animated dozens of letter and number spots for SESAME STREET and THE ELECTRIC COMPANY, inventing characters like Thelma Thumb & Cyrus. In the eighties, we tackled an animated feature, TWICE UPON A TIME. George Lucas got the financing through the Ladd Company and WB. Now TUT is another cult classsic. All my animation is done with a personal cut-out technique, Lumage, named for its luminous image. . T