This lively cinema dialogue - in the form of a cross-Atlantic email correspondence - investigates the idea of The Mystical Filmmaker. It is a complement to the films and fiction of Peter Whitehead, and exposes Whitehead’s marvelous gift for finding myriad connections between a host of subjects that are in play in a living conversation. Many filmmakers are interesting in an interview setting, where they can tell stories and be the raconteur - but there are very few who are so engaging in the context of an epistolary-dialogue. There is a vivid dramatic unity to this correspondence, which is not just a bunch of letters written over a rambling period of time - but is, rather, a complete and concise conversation-in-writing, with a distinct beginning, middle and end: a pas-de-deux of words that took place almost entirely within the time-nutshell of a six-months period. At its best, the correspondence has a vibration not unlike Antonin Artaud’s description of Balinese theater, and illustrates Artaud’s declaration that actors should be like torture victims who are being burned and making signs from the stake. Because of the painful context of these letters, The Mystical Filmmaker is a collection of signs from the stake.