Wilson’s comments are the mainstay of the film, as he talks with seeming candor about his life, dating from his awkward days in Texas and his embarrassing past stutter of his youth that led him to shyness. He also talks about his strict religions upbringing, his being gay and the struggle he had getting away from his roots and pursuing a new, exciting life in New York. His successful father looked down upon him and belittled his outlook on life. Later, after he staged his renowned work “Einstein on the Beach” at the Metropolitan Opera House in New York to pubic acclaim and he told his father he was still $150,000 short, he recalls his father telling him, “I never thought you were good enough to owe $150,000.”

Various notables enamored of Wilson have added their comments, including those of the late Susan Sontag. However, critic John Simon was unflattering. We hear from Philip Glass, with whom Wilson has collaborated, as well as John Rockwell, dance critic of the New York Times and numerous others.

But best of all, we see clips from various works by Wilson, many of which provide an idea of just how unusual his creations can be. There are also scenes showing him at work and reflecting his methods and the way in which he establishes the loyalty of those who admire him as a mentor. The film depicts the constant struggle to raise money and the dismal failure of one extravaganza to come to fruition. No one could ever accuse Wilson of thinking small, but bigness isn’t always possible given the cost of staging major works and the special audience to which he appeals.