[The photograph] is the object itself... [It] shares, by virtue of the very process of its becoming, the being of the model of which it is the reproduction; it is the model.

Photography has freed the plastic arts from their obsession with likeness.

All films are born free and equal.

The 'Western' is the only genre whose origins are almost identical with those of the cinema itself.

A very faithful drawing may actually tell us more about the model but despite the promptings of our critical intelligence it will never have the irrational power of the photograph to bear away our faith.

The photographer proceeds, via the intermediary of the lens, to a point where he literally takes a luminous imprint, a cast... [But] the cinema realizes the paradox of moulding itself on the time of the object and of taking the imprint of its duration as well.

Every image is to be seen as an object and every object as an image.