"TO ALTER THE IMAGE" "It would be good, if you could go further." "Further than what?" "One expects more after all this." "On how to give an image of change." "Yes, but here one needs to be frank." "You try to find an image of change," "but you don't even know, if..." "Is a description of change possible?" "Is there any image that could even qualify?" "To transport this idea of change, could an image can an image change?" "Why did I make this film?" "All these discussions on TV about reforms annoy me." "At the same time there was something, which explains my lateness." "In fact, I needed to feel and to show myself humiliated." "Why?" "Why humiliated?" "Because there is something in the image" "that has to do with sin." "It's very much tied to the text." "All these discussions taking place now are discussions about text, no one adresses the image." "To go further, then, I needed to fall deeper." "We may associate the image with heaven, but it may well be the devil." "Against my wishes, a contract had been concluded." "A civil servant from the realm of the central television had been calling him now, night and day, for several months." "Was the work finally going to be finished?" "Would the leaders be able to present it to celebrate the change of leadership in the realm of the central television?" "And he, our imbecile, who so easily confused the work of research with the search for work, this imbecile was caught in his own trap now." "A nasty business as usual, when documentary plays with fiction." "Either you return the money or you squeeze into five minutes all of humanity, desire, power, dreams, as well as good and evil." "After much thought in front of a mirror given to him by Jean Cocteau our imbecile decided that the best thing to do was to stick to the form." "After all, it was a question of establishing a delicate formula which could be seen without being told, or told without ever having been seen." "Hence, inventing and copying it at the same time." "It is true that this imbecile's life had never been but a mere to and fro between the image of life and the life of images." "He had shown that the image did not exist, only chains of images and that the very way these were assembled, from the genetic code to the Renault production chain, that this assembly itself constituted an image," "an image that reflected how we fit into centre or the periphery of the universe." "And to see such a duty imposed on him, this imbecile of a skater, who only liked free movements, was suddenly reminded of a real adventure." "It had happened a few years ago, in a so-called new country in South America or Africa, that had invited him due to his "sympathies" for these kinds of places and also as an expert in image-changing;" "the new government wishing to establish a new television style." "This is what happened, what might have happened." "What really happened, our fool has sufficiently adressed, confusing the real and the imaginary the way other people before confused love with work." "Fifteen days after his arrival, having begun to work with the obvious highs and lows, these new countries having their preconceived ideas about the role of TV, our imbecile had thus affectionately put himself to the service." "Now those, who'd lost power had regained it and chased everybody away including all the foreign experts and advisors, except one: our fool." "The new government, half military, half civilians civil in their hearts and military in their appearance, or the reverse," "The new leaders in general and particularly the head of information or "communication" as he liked to say to the journalists, this one thought: since our imbecile was the only one to know how to build up a TV that serves the people without endagering the powers," "thus pleasing the leaders without upsetting the people, in short, the new leader had decided that this fool could just as easily have given them the good formula for television as well as those he had made come earlier" "and that the money for the tickets was already spent anyway." "Without further ado, they entrusted him with a former news reporter who spoke some French and whom they had promoted and who was now part of the Army's PR Dept." "which had merged with the ministry of public health, this public that the new leader wanted to serve all the cost." "And this is how two or three times a day, by using animal psychology and human force our imbecile was asked for the exact formula of changing images and images of change." "In this film, the prisoner and you, the victim, were going to write a letter to their beloved." "Yes, I started to talk about this, there were so many ideas in it." "The image of change... change is vast, you find it everywhere, and in ten minutes... you gave me twelve, but you took away two and a half... and I took more time," "so there were lots of things." "In the end, any text is a text to the beloved, no matter if it is about the revolution or a women or a man, any text can be considered a text to the beloved." "Whether it is for Saint Teresa of Avila or Marx and Engels, it is always a text to a beloved." "And so I thought, because on TV they always show victims, as they do in photographs, too you never see soldiers shooting, only from the back..." "And there was also this idea of being humiliated." "In my opinion, TV and cinema are occupied by the enemy, the state being the main enemy, as well as its minions." "Effectively, a TV technician is a collaborator just like the French collaborators were with the German occupiers." "Hence, this desire to show that making images is maybe giving and receiving slaps in the face, in this case especially receving them." "And I feel like an occupied territory and well, I felt like mixing up..." "I would have wanted to..." "I wanted to write the text of the executioner to his beloved as well as a similar letter from the prisoner and the mixing of these letters could have been an image of many things, would have shown a resistance," "the resistance of an image to change." "I, too, am not ready to change just like that." "However, I think one can change between images and it's that 'between' one has to show." "That reminds me of when I was little, my grandfather, when driving, would never go beyond first gear." "We kids would be sitting in the back and all those Sunday trips were infernal, because we would shout from the back:" "Change, grandfather, change!" "Change, grandfather, change!"