The term "The Weir-Falcon Saga" appeared to me, night after night, at the end of a series of dreams: I was "true" to the feeling, tho not the images, of those dreams in the editing of this and the following two films. The three films "go" very directly together, in the order of their making (as listed); yet each seems to be a clear film in itself. At this time, I tend to think they constitute a "Chapter No. 2" of The Book of Film I've had in mind these last five years (considering SCENES FROM UNDER CHILDHOOD as Chapter No. 1); and yet these "Weir-Falcon" films occur to me as distinct from any filmmaking I have done before. They engender, in me, entirely "new" considerations. I cannot describe them, but there is an excerpt from "The Spoils" by Basil Bunting which raises hair on the back of my neck similarly:

"Have you seen a falcon stoop / accurate, unforeseen / and absolute, between / wind-ripples over harvest? Dread / of what's to be, is and has been - / were we not better dead? / His wings churn air / to flight. / Feathers alight / with sun, he rises where / dazzle rebuts our stare, / wonder our fright."