Outlining a history of film going too far, of seeming madness and wasteful extravagance, this text examines films that are cinematic landmarks and monuments to directors' hubris, from Griffiths' Intolerance to Coppola's Apocalypse Now and Carax's Les Amants du Pont-Neuf. The text explores the changing conditons of the industry under which figures such as L'Herbier and Lang, von Sternberg and Ophuls got their hands on the full apparatus of studio production, while behaving as individual artists. It questions the shape of film history from the viewpoint of these pictures and relates the notion that a failed work of art may be more glorious than a success.