May 11

Nobody, not even the rain, has such small hands

somewhere i have never travelled, gladly beyond
any experience, your eyes have their silence:
in your most frail gesture are things which enclose me,
or which i cannot touch because they are too near

your slightest look easily will unclose me
though i have closed myself as fingers,
you open always petal by petal myself as Spring opens
(touching skilfully, mysteriously) her first rose

or if your wish be to close me, i and
my life will shut very beautifully, suddenly,
as when the heart of this flower imagines
the snow carefully everywhere descending;

nothing which we are to perceive in this world equals
the power of your intense fragility: whose texture
compels me with the color of its countries,
rendering death and forever with each breathing

(i do not know what it is about you that closes
and opens; only something in me understands
the voice of your eyes is deeper than all roses)
nobody, not even the rain, has such small hands

E. E. Cummings


Sep 10

Tree collection

Jun 10



Jun 10

For he who leaps into the void owes no explanation to those who watch

The day before filming À Bout de souffle, Godard sat down to write his producer a letter:

Dear George de Beauregard,

It’s Monday, almost daybreak. The poker game is about to begin. I hope that it will bring a bit of money. […] I would like to thank you again for your confidence in me. I apologize in advance if by chance I am in a bad temper in the coming month. I hope that our film will be of a beautiful simplicity or of a simple beauty. I am very afraid. I am very nervous. Everything is fine. I am writing to you as I would to my parents, and I pass on to you as the first bet for the game that’s about to begin a motto of Guillaume Apollinaire: Tout terriblement.

J.-L. G.


May 10

An Ideal Distribution

(Godard when asked what’s his ideal mode of distribution)

“I really would have liked to have a boy and a girl be involved, a couple who had the urge to show things, who were kind of involved with the cinema, the sort of young people you might meet at small festivals. They’d be given a copy of the film on DVD, then be asked to train as skydivers. After that, places would be randomly chosen on a map of France, and they’d parachute down into those locations. They’d have to show the film wherever they landed. In a café, at a hotel… they’d manage. People would pay 3 or 4 euros to get in — no more than that. They might film this adventure, and sell it later on. Thanks to them, you get a sense of what it means to distribute a film. Afterwards, only you can make the decision, to find out whether or not it’s able to be projected in regular theaters. But not before having investigated everything for a year or two. Because beforehand, you’re just like me: you don’t know what the film is, you don’t know what might be interesting about it. You’ve gone a little outside the whole media space.”


Are you one of those young people, the kind one meets in festivals, willing to parachute down with dvds to organise screenings?

Nov 09

On 2 or 3 things

She said, “A story that is full of humanity will eventually lead you to religion.”

He said, “In my opinion, there are two things that can absolutely not be carried to the screen: the realistic presentation of the sexual act and praying to God.”


Q: What do you think of death?
Welles: As a marxist, I never give it any thought.