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.

All films are born free and equal.

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.

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.

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

How has The Grand Illusion held up over the years? It is not enough to say that it has retained its power. Not only has the stature of the film remained undiminished by the passage of time (except in a few minor details), but the innovation, the audacity, and, for want of a better word, the modernity of the direction have acquired an even greater impact.

Photography does not create eternity, as art does; it embalms time, rescuing it simply from its proper corruption.