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Alien Tio


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Alien Tio It runs the risk of diverting it, influencing it, maybe even enriching it. It’s possible that performers might enrich a film, but it would still deform it. Obviously, when he chooses to work with unknowns, he’s shaping unformed clay. Obviously, this allows him to keep his idea of the film intact. I think in his case it’s indisputable. Let’s talk about the script. It’s admirably constructed, but it’s full of ellipses and question marks. For example, at one point, Gérard is summoned by the police. Do you realize no one knows why he’s been summoned? And neither do I. I’m kidding. But I want to eliminate all details of the back story. If someone’s summoned by the police, we’ll see what happens. But I think it’s a good rule though I think rules are made to be broken to always show the effect before the cause. The cause must be passionately desired so that the images, your film, grab the audience’s interest. This young man is summoned, and we don’t know why. We believe we do: Someone’s been murdered. But it doesn’t matter who did it. We think it was him, and then we see we’re wrong. We think it was the tramp, Arnold, but it wasn’t him either. It doesn’t matter for the story. Maybe they’ll never know what happened. Maybe it’s wasn’t a murder but just an accident. But whether it was murder or accident has absolutely nothing to do with our story, and I always try categorically to eliminate whatever’s not essential. I think perhaps I’m wrong that the arts are on the decline. They’re dying, perhaps from too much freedom, perhaps due to their incredibly wide distribution, like everything today. I think movies, radio and television are killing the arts. But I also believe that, oddly enough, that it’s precisely through cinema, radio and television that these arts will be reborn, perhaps in a completely different form. The word “art” may no longer even mean what it does now. But it seems to me there’s hope. I believe in cinema game as a completely new art that we really don’t even yet quite grasp. I believe in the muse of cinema.


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