a teoria da transparência

"Why did I get involved? Is it because Jean-Luc has been my friend for 20 years? Or is it because Jean-Luc is the world’s greatest filmmaker? Jean-Luc Godard is not the only director for whom filming is like breathing, but he’s the one who breathes best. He is rapid like Rossellini, sly like Sacha Guitry, musical like Orson Wells, simple like Pagnol, wounded like Nicholas Ray, effective like Hitchcock, profound like Bergman, and insolent like nobody else. Professor Chiarini, Director of the Venice Film Festival, says: 'There’s cinema before Godard; and cinema after Godard.' It’s true, and as the years pass it’s increasingly clear that Breathless has marked the cinema, that it’s a decisive turning point, like Citizen Kane in 1940. Godard blew the system up, he messed it up, just like Picasso did with painting; and like Picasso, Godard has made everything possible. More prosaically, I can say that I have become a producer of the thirteenth film of Jean-Luc Godard because I noticed that the people who invested money in the preceding twelve masterpieces got rich."