This paper begins by arguing that Beckett's changing uses of a single word between 1932 and 1945 can be read as a microcosm of broader changes in his work following his reading of Geulincx in 1936. Beckett had used the word pre-1936, yet his uses of it alter after that time; similarly, he had already been occupied with a number of the themes that would be foregrounded by Geulincx, but his treatment of them shifts in his work after this encounter. In particular, the Geulingian concept of 'autology,' or self-inspection, provides a clue to Beckett's creative process in the Ur-.
This essay explores the plans of 1982–1983 to produce a remake of and then a kind of sequel to Beckett’s 1965 Film. With access to the personal archive of the director who was planning these pieces, Damian Pettigrew, the essay traces the history of the shifting project and focuses on Beckett’s own direct involvement, evidenced in correspondence as well as notes taken of a number of face-to-face conversations between Pettigrew and Beckett. These conversations also throw light back on 1965’s Film with regard to influential films, locations and imagery that provide context to the original. At the same time, further correspondence reveals the involvement or near involvement in the Film remake of notable figures such as Jack Lemmon, Dirk Bogarde and Klaus Kinski.