When you’re becoming older and older it’s a necessity to remember what can be remembered, especially if there is no direct memory.



Godard talks about the music of filmmaking

By Mark Feeney, Globe Staf

Q: In the film, you’re asked if “the new little digital cameras” are the future of cinema. You ignore the question.
A: No, because I have no answer.

Q: Well, you’re a great user of new technology, in sound as well as image. You can’t say whether or not that’s better for film in the long run?
A: I’ve always been interested in new technology, since my very first movie where new negatives allowed us to shoot in the street. I like new technology because for a time, at the point of its invention, there are no rules. You have to find the right rules for yourself. But today the new technology, the rules are fixed already in the medium, if I may say so, so you have to be careful how you use it. The new little cameras, everyone says everyone can do his own movie now. But at the time the pencil was invented, its invention did not make obligatory that you can be a new Velazquez or Rembrandt. It is the same with the movies. It’s not because you have a small camera and you can go everywhere, under the bed, in the pocket of your boy- or girlfriend, that you can make a “Splendor in the Grass” by [Elia] Kazan or “Touch of Evil” by [Orson] Welles, you see.

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