1. the discarding of ideas
2. the meaning of montage (see book put together my Montand’s wife in “La Guerre est finie”
3. The primacy of the camera–all else is secondary.
4. Straub-Huillet base all their films on already existing material–The tension between the wholly original and the referenced….(the impetus behind a wholly original segment in a wholly original story)
5. A film that reflects on its own formal/stylistic devices. For instance, if WKW would include in his story annotative comments about his use of slow-motion…
6. Something has to replace the clichés of self-reflexivity. The beautiful tracking shot of a tracking shot in “Contempt” as the credits are read out…should be replaced today by something new that indicates the same issues…The ‘essence’ of this sequence which I’m in love with….is something I wish to reproduce…but maybe it can be done without going through the path of self-reflexivity. The obvious alternate path would be to have a sequence with narrative meaning (unlike the extra-diegetic sequence of Contempt). So now the question would be…what are the other filmic emanations apart from extra-diegetic self-reflexivity, diegectic sequences,…I am not sure. What about the false takes an actor makes, when he taps into the ‘wrong’ feeling and the director must correct her/him? What about the kind of footage that is never in the script but ends up being shot out of sheer opportunity at the moment of filming (and the audience can feel that)?
7. A movie directed by Michel Gondry about a man who tries to convince a woman that they met the year before at a 35mm screening of Marienbad. Seeing that the woman is clearly unconvinced, he makes a short film recreating their encouter. The man is played by Peter Greenaway. The last remaining print was destroyed in an Afghan cave before a special screening for US Soldiers. During a trek to a humanitarian mission, Olivier and Hugo find bits and pieces of the print and try to put it back together.
8. Obsessive-Complusive Personality Disorder is defined by absolute denial that there is a problem. Good way to explore in an explicit way that space where the viewer knows more than the protagonist.
