I want to save my soul, that timid wind.

Cinema is a kind of pan-art. It can use, incorporate, engulf virtually any other art: the novel, poetry, theater, painting, sculpture, dance, music, architecture. Unlike opera, which is a (virtually) frozen art form, the cinema is and has been a fruitfully conservative medium of ideas and styles of emotions.

You can always be quoted.

Because each photograph is only a fragment, its moral and emotional weight depends on where it is inserted. A photograph changes according to the context in which it is seen: thus Smith's Minamata photographs will seem different on a contact sheet, in a gallery, in a political demonstration, in a police file, in a photographic magazine, in a book, on a living-room wall. Each o these situations suggest a different use for the photographs but none can secure their meaning.

The creative phase of an idea coincides with the period during which it insists, cantankerously, on its boundaries, on what makes it different; but an idea becomes false and impotent when it seeks reconciliation, at cut-rate prices, with other ideas.

The photographer both loots and preserves, denounces and consecrates.

I'm interested in the possibility of fiction which straddles narrative and essay.