This chapter is dedicated to the 1961 definition of Documentary according to the English cinematographer, director, and producer Richard (Ricky) Leacock (1921–2011). Leacock, who was Flaherty’s camera person in Louisiana Story (1948), became, in the late 1950s, a leading figure in the movement, calling for throwing away the old convention of documentary filmmaking: “Screw the tripod” was his celebrated epigram. His elaborate definition of Documentary appeared in issues 22–23 of Film Culture (1961), edited by Jonas Mekas—a champion of the New York avant-garde scene. In this chapter I break down Leacock’s comprehensive description of documentary essentials as they appeared in both of those issues. While it is true that each of the eighteen propositions he enunciates, most of which follow the structure of a syllogism, stands as a liable definiens even as a solitary premise, I would argue that only their amalgamating compilation and the holistic logic they endorse exhaust the ample signification of Leacock’s 1961 act-of-defining.