“Such, in its strange, timeless beauty, is the declaration of Godard’s film. ‘Everything’s all right’ is a statement whose creative force can be gauged by the fact that, in real life, it seems clear that everything is going to hell in a handbasket.
“My hatred for the bourgeoisie is not documentable or arguable. It’s just there and that’s it. But it’s not a moralistic condemnation; it is total and unmitigated, but it is based on passion, not on moralism.
“I only started out in cinema when I was about thirty, and for me, my life or my thoughts have always been lagging behind cinema. Like, if it were a train, cinema would be the locomotive and politics and all that would be the last carriage. It is from For Ever Mozart and mostly Film socialisme onward that it started to be both at the same time. In my personal life as well, how my personal life has joined my cinematographic life.”