"I consider Thom and Malcolm's film to be groundbreaking in its brilliant demonstration of the power of a rule to construct a film that unifies shots taken at different times and places. And it is also noteworthy for the new model of the documentary film that it proposes. The brilliance of --- ------- is that it refuses the power of montage as that idea has been conventionally understood, only to rediscover its power in a different form, on a new plane. Somewhere Eisenstein describes montage as that mode of construction that goes beyond representing the appearance of an event to capture the feeling of it. --- ------- operates in this way, but in a realm that is particularly resistant to representation by means of images, that of memory." --Morgan Fisher

[Source: Restoring the Los Angeles Avant-Garde: Thom Andersen and Morgan Fisher Program Notes, 2009]