1.

There are two of us, one writing and the other realising (a film).

It's said that there is a literary art and a cinematographic art.

Between us, the question here is to find a way for the two arts to work together— with the utmost sympathy for one another, of course, but above all, in symbiosis. Lichen is a very hardy organism that has always endured, or nearly so; this little species of moss is quite obstinate and exists as a result of the meeting between an alga and a fungus.

I believe that algae was the first to emerge from nature's breast; an alga is what I am, since writing had long existed when cinematography appeared; all of a sudden, along came fungi.

Between us, working together over the years will be a question of respecting the phenomenon of symbiosis, which is frequent in nature.

It will not in any way be a question of a union, or a designation, or something else that is overly conventional; an understanding is necessary; that we get on well.

What remains is to invent, between us, the workbench, which is not the oeuvre itself, but what the oeuvre will be placed on—between us; placed there, the oeuvre will be easy to handle.

2.

You happened to ask me for a screenplay. I evaded your request. You had shot the images in Ce Gamin, là (That Kid, There) … always without a screenplay. A series of images had been realised and these were in need of a binding; I thus not only wrote but said out loud what I preferred to call a legend rather than a commentary.

The years passed, and now here we are again, not with our backs up against the wall, but on either side of a workbench, or rather on either side of a space that is still vacant—a space where the workbench should be placed. It's clear that what we’re missing could come from what existed during the shooting of That Kid, There… .: the living areas that existed for years; those in which the children said to be autistic resided.

We spoke of resuscitating a flock of kids who had emerged from the darkest depths of a cave.