The films of American independent filmmaker Richard Myers have been shown widely at national and international film festivals over the past 15 years, receiving numerous festival awards. Myers weaves a vividly personal amalgamation of images - of family, place, memory, emotion, dreams, nightmares, magic - into a vision which taps while it describes a broader cultural, intensely American, consciousness - or, rather, unconscious. Best known for 37-73, Akran and Deathstyles, the Midwestern-born filmmaker often ventures no further from his roots than to find his actors in his own son, his 94-year-old grandmother, or himself, and his visual images in the quotidian landscape and assumptions of small town and big city Midwest (which approach does not preclude forays into Vietnam, Kent State or Hollywood).

“...Richard Myers is unquestionably a major talent of the American Avant Garde.... (His) feature length deluge of incessant, brilliant bursts of images (short takes and jump cuts, single frames in series, freezeframes slightly altered between takes)... creates a Joyce-like, dense and sombre mosaic of memory and sensory impressions, a texture instead of a plot, a dream-like flow of visually-induced associations... realized to be a statement about America today; the alienation and atomization of technological consumer society is reflected in the very style of the film.” -Amos Vogel, on Akran, in “Film as a Subversive Art.”

“My films, at times, have been nothing more than a reconstruction of memory. A reconstruction conditioned by observation and hopefully, clarity of vision. The inner coherence of my work is felt rather than stated, grasped physically rather than being verbally explicable. I think of my films as myths. Myth as a means of unification of reality. Myth as the... intermediate stage between unconscious and conscious cognition. The making of films justifies my existence.”

Floorshow, Myers' latest film, addresses the process of filmmaking, describing the motivation behind the creative act in a Chinese box series of film within film within film, Myers playing the part of a director making a film about the making of a film: “The film operates, at times, on a purely visual level; Floorshow's images move back and forth through past and present, dream and reality, held together by a thread of irrational consequences.... I do not consider Floorshow to be narrative-dramatic, but rather, in the film I try to strip away appearances... to reveal dramatic points of contact through a theatrical base... between the mind and the outside world....”