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He grins, "So then, Hal signs on and it was back to basics. Just like with Ginsberg, with Terry, with everyone. I set out to read everything Hunter had ever published." Previously this process led to a mixtape selection, of sorts, of work spread out across the author's career (an example with Ginsberg, seventeen pieces). But instead, with Hunter, Michael's focus sharpens. "It hits me. The piece to do is The Kentucky Derby - And that's it. As one complete piece. That's the album."

From a creative development angle this single-piece concept is exciting. Artistically speaking, this justifies the album as being necessary, in so much as it completes the aesthetic form of the series. A long form piece is a jump in size and shape, a larger piece of canvas and a proper final act. And the possibility of SOUNDS in the thing, a drunken binge at a Kentucky horse race, is endless. It is also much better, more menacing and visceral, as a piece of sound than as a piece of film. I ask where they are in production:

"We just recorded the text with Tim Robbins, Ralph Steadman, Dr. John and Annie Ross. It went very well. Steadman and Mac (Mac Rebennack, Dr. John) are great spoken word performers."

Ralph Steadman playing himself is inspired. But so is this new take on Hunter. Tim Robbins! Michael asserts Tim Robbins' take on Hunter is the best he's heard.

I was completely unaware this was happening, but that's awesome.