I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.

Take a film of Jacques Tati like Mon Oncle which has something quite new - for me, unique - in it.

Well rounded forms gives smooth sounds; sharper or angular forms give harder and harsher sounds.

And so my militant philosophy is this: to make with a brush on canvas is a simple direct delight-to make with the movie is the same.

The number of strokes to the inch controls the pitch of the note: the more, the higher the pitch; the fewer, the lower the pitch, the size of the stroke controls the loudness... the tone quality is the most difficult element to control, it is made by the shape of the strokes.

I have tried to preserve in my relationship to the film the same closeness and intimacy that exists between a painter and his canvas.

In any art movement, the art has to move into a new phase - a filmmaker has a desire to make a film that is not like a previous film.