It's little known that Night of the Living Dead was not actually Romero's first feature film. The first was a mostly-lost anthology film from the early 1960s called Expostulations. According to Romero, it was fully shot and edited but it was shot silent - as was customary for low-budget independent filmmaking at the time - and the company hired to create and record the soundtrack went out of business. It's unclear what happened to the footage, but some footage (from a segment by Richard Ricci starring future NFL fullback Robert Brooks) has resurfaced. In an unpublished interview from the 1990s, George described the film as follows:

The film was an anthology containing five short stories written by myself, Rudy [Ricci], and (the biggest contributor) Rudy's cousin Richard Ricci, who wrote the two longest set-pieces, 'Connection,' a poem (which we visualized) about blacks driven to crime in the inner city, and 'A Door Against the Rain,' the closest to a 'real movie,' a story about a poverty-stricken boy whose grandfather builds him a free-standing door in an empty lot. The boy moves through the door into imagined places.

The other three pieces... Mine - 'Average Morning' (a montage of images depicting a commuter's morning) and 'The Framistan' (a slapstick about a scientist who creates a machine which makes people disappear); Rudy's 'The Rocketship' (also slapstick, about a two-inch-long rocket from space which lands in a man's ice cream cone at an amusement park... seen through the eyes of the rocketship's crew).... were quite frivolous compared to Richard's.

It was an ambitious project. We were seriously dedicated to it, and, most important, we finished it (at two and a half hours). We worked with real actors (friends from CMU and from The Pittsburgh Playhouse). We build elaborate sets, props, etc. It was really our first 'professional' work.

In trying to provide a musical score for Expostulations, we got involved with a small audio recording company in Pittsburgh, Lavere Music. After a short time, Lavere went bankrupt. We secured a business loan and took over their office and studio space which we still occupied in 1984 (as Laurel). Expostulations, in my mind, represents the real beginning of my career. It was the first time I could possibly achieve something as a filmmaker.

In the archive, we only have one item from the film: a promotional booklet created to raise funds  for the production. It contains surprisingly little information about the film! Without any narrative description, images from the film, or any specifics about the project, the booklet imagines a dialogue between the filmmakers behind Expostulations and an unsophisticated rube of a moviegoer who expects every film to be a genre movie with big stars and hot babes and a very familiar story. This project, in contrast, is ART.