"One week after 9/11, independent filmmakers Jay Rosenblatt and Caveh Zahedi put out a call to over 150 experimental and documentary filmmakers asking for contributions to a collective film project (Underground Zero) addressing those tragic events and their aftermath. My five-minute contribution, Innocence and Despair, provided me with an opportunity to make my first digital video (with material culled from 16mm footage, both archival and my own) and to make something of a public work, something I had never done before. The title is copped from a favorite album of mine (The Langley Schools Music Project) that was originally recorded by Hans Fenger in 1976-77 with his grade school students singing popular songs of the day. I was meditating on ideas of before and after, of how the summering people in my little film could never have imagined looking up at the sky at a world such as existed on the day…" —Phil Solomon

A little nachtmusick, a deep blue overture to the series. Breathing in the cool night airs, breathing out a children's song; then whispering a prayer for a night of easeful sleep. Preserved by the Academy Film Archive in 2012.

A film Solomon made for his wife on the occasion of their marriage.

Nocturne evokes one of the most magnificent films of Brakhage: Fire of Waters. It takes place in a suburb populated by children playing and indistinct parental figures. The narrative plot might suggest that it was a boy's night-time plays; The flashes of a torch in a dark room evoke fights and aerial bombardments. An impression of hostility and a feeling of horror interferes in all the movements ... The fantasy is tinged with nightmare, a storm of repressed emotions hides behind the calm facade of this house. In Nocturne, found footage blends so well with the threat that its perception produces a discharge from the unconscious.

The film combines, through a variety of optical printing techniques, documentary archival footage, images from the The Golem (1920), and Solomon’s cinematography to evoke the legendary tale of Rabbi Löw’s monster in order to save the Jewish population of the 16th century Prague ghetto.

A re-make of Andy Warhol’s Empire from high atop the Manhattan Island of Grand Theft Auto IV (“Liberty City”), far from the madding crowd of thieves, cops, prostitutes and murderers down below. I hijacked a copter, leaped onto the rooftop of an adjacent building, spawned a scooter out of the thin air and then gingerly drove it to the very edge of the precipice in order to roughly approximate that familiar view from July 25-26, 1964.

A brief short of Phil Solomon and Stan Brakhage going to the movies in the spring of 2002.

Part of Solomon’s acclaimed Grand Theft Auto series, titled “In Memoriam”, a body of work shot entirely within the virtual world of the Grand Theft Auto video game.