Richard: That’s when I decided I wanted to get into film, and when I came back to America I took two courses at Columbia. Then I was lucky enough to get a job with Leacock-Pennebaker, who were the preeminent cinema verite documentarians; and there I learned to edit, to take sound, and this film that we’re talking about was my first venture as a cameraman. This was entirely on our own, and we selected this because this was a movement that was different. I also was touched by, in a sense, their naïveté. One of the people, I remember asking him how he felt. He said, “Oh, this is the most wonderful thing. I am so moved, I want to devote my entire life to this.” I said, “How long have you been involved?” He said, “Since yesterday.”
How familiar these faces are, they are etched in my memory. Also I was very touched in part because I am aware that this is important for the devotees. Being able to give the film to the movement is more of a gift to us that we had something of value that was appreciated, and that was very rewarding to us. So it’s Matchless Gifts for us.
