“Beyoğlu 68 Üzerine Beyoğlu’nu filme çekmeye karar verdik. Artun yönetecek, ben kamerayı kullanacaktım. Güç bela birkaç kutu pelikülle 16 mm.lik bir kamera edindik ve Mayıs 68’de Beyoğlu’na çıktık. Artun bana kaydedilmesini istediği şeyleri gösteriyor, ben çekiyordum. Amaç tüketim toplumunu eleştirmekti ama senaryo yoktu. İşin kurguda bağlanacağını biliyorduk […].” Jak Şalom, sinematek.tv: http://sinematek.tv/beyoglu-68/ (25 October 2019).
“On Beyoğlu 68: ‘We decided to film Beyoğlu. Artun had to direct it and I was responsible for the camera operations. We hardly found a box of unexposed film as well as a 16mm camera and started wandering around Beyoğlu. Artun was telling me what to shoot and I was recording. The purpose was to critique consumer society, but there was no script. We knew that we need to deal with it during the process of montage’ […].” Jak Şalom, sinematek.tv: http://sinematek.tv/beyoglu-68/ (25 October 2019).
"Shows various types of commerce and industry in Victoria, including a large department store, a milk bottling plant, a beauty parlour, offices, garbage collection, a weaver's shop, a bakery, etc." (Duffy, 84).
Other sequences included the Ogden Point grain elevators, Royal Jubilee Hospital, shipyards, a plywood plant, and carpet factory. Nanaimo Daily News, 26 October 1953, p. 5.
"Mr. Motorboat's Last Stand, written and produced by John A. Flory, who was assisted in photography by Theodore Huff, ACL, carries the subtitle, A Comedy of the Depression. It has, however, nothing in common with the typical motion picture comedy but is, instead, one of the very few films made each year that represent an intelligent attempt at experimentation with the motion picture medium. It is a story of Mr. Motorboat, an unemployed negro, who lives as elegantly as circumstances will permit in an automobile dump and who sells carefully washed and polished apples on a street corner. The picture turns into fantasy as Mr. Motorboat appears to ride to work in the morning in one of the cars of the dump that stands motionless without its wheels. Then the fantasy becomes more complete when he makes a bit of money and uses it as bait with which to fish in Wall Street. This he does literally and actually and with marvelous results until the crash of 1929. Simultaneously with the explosion of the prosperity bubble, Mr. Motorboat's competitor smashes his apple stand and the picture ends in a magnificent chase sequence, Mr. Motorboat after the competitor. This picture is photographed superbly well, and the editing is as smooth as that of the professional studio product. It is filled with remarkable directorial touches and cinematic symbolism and, although it suffers to some extent from the haphazard admixture of fantasy and realism, it is decidedly the best experimental film of the year." Movie Makers, Dec. 1933, 522.
"It is a platitude that there is more in Mexico than meets the eye. In Quaint Old Mexico, however, Guy Nelli proves that there is far more in Mexico than usually meets the camera. Mr. Nelli presents the gradual awakening of Mexico, as the farmers drive their produce to market, with a startling sense of early morning atmosphere; market scenes are developed lucidly and effectively. The high peak of the film is reached with a most remarkable sequence of religious festival shots, as virtually an entire village re-enacts the Stations of the Cross. The intense religious emotion evident in these scenes has rarely been caught for the screen. Mr. Nelli's film is outstanding for its fresh approach and, above all, for the natural and casual quality of its shots." Movie Makers, Dec. 1946, 488.
"A Vacation with Lucy Carlisle, Margaret Pinkham, Virginia Carlisle." oldfilm.org
"Most Christmas films seem to be concerned with only one aspect of this December holiday — the gaiety of family life around the tree, opening presents and a festive dinner. Grace Lindner has recorded the material side of the season in the early footage of her film, Xmas Time, as she shows gleaming shop windows, hurrying shoppers, decorated doorways and members of her family around the hearthside. But in a smooth transition from a creche under the tree to the children saying their prayers, she ends her film with a series of architectural studies of the spires and bell towers of churches, filmed through bleak branches against a winter sky. This moving climax, accompanied by a choir recording of The Lord's Prayer, admirably fulfills her aim to portray the triumph of the spirit of Christmas over the baser observances." Movie Makers, Dec. 1951, 412.