Quotes of All Topics . Occasions . Authors
I watched a lot of avant-garde films, like Maya Deren's work, and I love film's technical ability to do things that are impossible in real life. It's related to the way collage allows you to manipulate reality and the hierarchies that are inherent in our awful but amazing world.
For myself, the only way I know how to make a book is to construct it like a collage: a bit of dialogue here, a scrap of narrative, an isolated description of a common object, an elaborate running metaphor which threads between the sequences and holds different narrative lines together.
For me, collages manage to - it satisfies all of my madness, like I'm able to make these obsessive things, but then I'm also able to make these very strong statements. I don't know what they mean to other people, but in my mind, they have a very strong particular resonance; there's sort of a power.
As the eldest son of an Alabama sharecropper family, I was constantly troubled by a collage of North American southern behaviors and notions in reference to the inhumanity of people. There were questions that I did not know how to ask but could, in my young, unsophisticated way, articulate a series of answers.
I always felt that with an Antoine Doinel film, Truffaut was taking a vacation, that Francois could relax when making a Doinel film. All of the language came to him very easily. 'The 400 Blows,' I felt, was a collage of all his childhood experiences. Every time he felt an Antoine Doinel film was necessary, he'd make one.
From when I was a really small girl on, I would pick every fabric, every color on the walls, and I was always redecorating. Like once every couple of months I would redecorate my room. I had a full wall that was all collage - the entire wall - when I was in junior high. And then it would kind of morph with me as I was growing.
