I don’t make a distinction between directing and criticism. When I began to look at pictures, that was already part of moviemaking. If I go to see the last Hal Hartley picture, that’s part of making a movie, too. There is no difference. I am part of filmmaking and I must continue to look at what is going on. [With] American picture[s], more or less one every year is enough: they are more or less all the same. But it’s a part of seeing this is the world we are living in.
"we have forgotten why Joan Fontaine leans over the edge of the cliff and why Joel Mc Crea went to do in Holland
we have forgotten what Montgomery Clift keeps eternally silent about and why Janet Leigh stops at the Bates Motel and why Theresa Wright is still in love with Uncle Charlie
we have forgotten what Henry Fonda is not completely guilty of and exactly why the American government hires Ingrid Bergman
but we remember a handbag
but we remember a bus in the desert
but we remember a glass of milk, the blades of a windmill, a hairbrush
but we remember a row of bottles, a pair of glasses, a music sheet, a clutch of keys
because with them and through them Alfred Hitchcock succeeded where Alexander, Julius Caesar, Napoleon have failed
in taking control of the universe
maybe ten thousand people have not forgotten Cézanne’s apples
but a billion spectators will remember the lighter in Strangers on a Train
and if Alfred Hitchcock became the only cursed poet to meet with success it’s because he was the greatest
creator of forms in the 20th century
and it is forms that tell us finally what there is at the bottom of things
now what is art if not that through which forms become style and what is style if not man"
Jean-Luc Godard, Histoires du Cinema
‘The Communist Manifesto’ was published in the same year as ‘Alice in Wonderland’
The same actors were also in ‘Le départ’ by Jerzy Skolimowski in 1967.
Peter Bogdanovich: I think we’d better have your thoughts on Godard.
Orson Welles: Well, since you’re so very firm about it. He’s the definitive influence if not really the first film artist of this last decade, and his gifts as a director are enormous. I just can’t take him very seriously as a thinker—and that’s where we seem to differ, because he does. His message is what he cares about these days, and, like most movie messages, it could be written on the head of a pin. But what’s so admirable about him is his marvelous contempt for the machinery of movies and even movies themselves—a kind of anarchistic, nihilistic contempt for the medium—which, when he’s at his best and most vigorous, is very exciting.