It was a time of upheaval in people's personal relations. Everything was on the table. Feminism had a slogan: “The personal is political.” Filmmaking technology was rapidly evolving. It became possible for the first time to shoot single-person sync. A crew of one meant that intimate relations could be filmed in a documentary. Films could be shot over a long duration without skyrocketing costs. I decided to do an experiment. I would film for five years, not look at the footage, leave it in the can for five more years and then edit. Editing would mimic what came out of the camera (“the rushes”). David Hume had called the self no more than a bundle of perceptions. How much of individual personhood could be recreated in such a film? I wanted to test the personal is political in this brave new world of relationships.
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