'Filming might not be so much the fixing of instants as their impossible iteration. This is the issue that would be my definition of cinema. First record images—like listening to old fables attentively—and then listen to them carefully, extracting latent content from their content. Although I often wander in urban areas. They are above all a pretext for the emerging of images. The rhythm of cities is propitious for surprises and can only be followed in a kind of dotted line—at the rate of a recoding device. With Super-8 using just 15 metres of film, making time fugacious and, like all silver film, delays the results. It is impossible to have instant access to the things filmed. They must first be developed. The waiting contributes to the subsequent narrative building. The images of the filming kept imperfectly in your memory are over-printed by those of the developed film, when this has been watched. They are then watched again, as if called into question. So like fables that we must pass on in turn, the images that we bring into being give statements a new space—film.