I have always loved films about the making of films. While Truffaut’s DAY FOR NIGHT remains a long-standing classic, one of my favorites is 1996’s IRMA VEP, the Oliver Assayas picture about a French film crew struggling to make amends with their lack of respect for a fading director (played by THE 400 BLOWS’ Jean-Pierre Leaud) and the troubles that arise when the largely French production can’t communicate with the film’s dazzling star, Chinese import Maggie Cheung, who plays “herself”. Another classic is BEWARE OF A HOLY WHORE by Rainer Werner Fassbinder, which is actually based on the shooting of his other film, WHITY. It plays like a spoof on a pseudo-documentary, about a German film crew trapped on a seaside Spanish resort. While waiting for money to come in, the cast and crew make love and war. The Criterion Collection promises us the year’s most exciting meta release: William Greaves’ SYMBIOPSYCHOTAXIPLASM. The rare film, which similarly features a collapsing film crew and a mischievious director, was seen by my close friend and fellow Indiepixer Danielle Digiacomo, at last year’s prestigious Robert Flaherty seminar. The film was re-enacted by Danielle and attendees with a few hand-held cameras: a feuding couple filmed by a film crew, being filmed by the director himself. This begs the question: how many layers of distance can an audience be subjected to? In a way, it is very similar to looking into a mirror while standing in front of another. You peer at your reflection peering into your reflection - and the scene promises to go on forever. This is one experiment not learned in film school. I invite filmmakers the world over to participate in the world’s largest Making Of the Making Of the Making Of!