"Taking the moment in a scene in Godard's LeMepris when the camera pans around a statue of Zeus as a starting point, I imagined the director, prior to the film's conception, walking into a bric-a-brac shop with nobody in it and full of old statues and furniture, and beginning to form his ideas of the overall plot and characters in the film through the items scattered around him."
This was the second film that I made, and its quite dear to me as it was around the making of it that I began to be fascinated by the presence of highly constructed artifacts, by the ability of objects, films, paintings, and buildings to acquire a life of their own more than, but relying on, and complementary to, their materiality. A life that is affirmed and vivified by the attention and contemplation of observers, but which cannot exist without, and relies entirely upon an efficacy which stems from the level of completeness bestowed upon the item by its creator, a form of conclusiveness which encloses the object in on itself as a contained unity of meaning that is entirely independent of its origin, of the artist. Like the unexplainable moment of liquefaction that is unique to every material, I imagine that there is a point for each artist, for each object that he makes when it reaches independence and sets sail on its own as something more than his or her creation, and something more than the material it is made up of, something that is so strongly of-itself that all future gazes, all future thoughts stemming from apprehending its forms, will, although necessarily each developing thoughts stemming from the observer's own experiences and mind, nonetheless catch a glimmer of the light which the object will give off like the radiation released over the course of its aesthetic half-life. The film imagines Jean-Luc Godard reaching the moment when the characters, plot, colours, scenes, and atmospheres of his film Le Mepris coalesce in his mind to start forming the image of the kind of completeness described above. This happens in a bric-a-brac shop full of pitiful and mundane objects, but things that nonetheless together act as a static reflection of what is forming in his mind, and aids and accompanies the events of intuition taking their own course in his head…
oh, and I starting looking at duration in regards to observing the object, so coming at it from both ends, the initila creative act and the later apprehension of the object in time by an observer... you can have a look at what I wrote on the second page with drawings and text below the movie.
and a couple of explanatory pages: