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Toward the end of 1984, he got a call from a collaborator of the rock group, Yes, who was looking for an inexpensive director to make a film about their tour. That’s how I found myself on the road for to days and brought back a documentary. Since I was not paid very much, I adopted a pretty irreverent attitude and this thirty-minute film was a lot like the first films of Richard Lester. Mostly, I wanted to have fun without worrying too much about how they would react, but finally they did rather like my work.

When we started shooting there was mutual respect. They had read the script and had felt it deeply. As for me, I had seen their previous work and had appreciated it a lot. During the shooting they were free to make mistakes, which is very important. As for the rhythm of the film, it established itself from the outset. What strikes me when I watch contemporary American films is their impatience. I don’t know if it’s because the filmmakers are not sure of themselves in relation to their subject, but in any event, they give the spectator no breathing space, they don’t allow the spectators themselves to establish the connections among the scenes.

But we thought that once they had seen the film they would not have this impression, and that through word of mouth this message would get around. The first screenings worked out just like that. The publicity and the reviews would also confirm that this was not an exploitative film. Q: Did you plan in the script the specific uses you made of video? A: Yes. We scripted every moment we went in and out of video. It was necessary, if nothing else to protect myself. For me, the video was a useful strategy to give one of the characters a certain distance in relation to michel ciment and hubert niogret / 1989 21 the others, and to enable him to maintain it until the end.

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Gordon Member IEEE 802.16 (WIMAX)

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