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This mechanical element, which one is sorry to see disappear from the screen, and which one is impatient to see again, is discreet; it appears only at intervals, and far off, like a spotlight that flashes on in a long, intermittent, harrowing drama of totally uncompromising realism. The plastic event is non-the less there and seems to me be laden with consequences both in itself and for the future. (on the filming of Abel Gance’s La Roue, 1922)
--
Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 21

 

Fernand Leger

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Handy, jun. Zounds, the room's in a blaze!
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The maddest phenomenon in this wholly mad world – that the filming or wirelessing of an event, whether it is the Grand National or an attack in force on the Maginot Line, is held to be of more importance than the event itself.

 

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You can't shut me up with your cynicism. I warn you- you must realise in time that you are not a mighty despot before whom everyone trembles. I do not tremble before you, I will fight you if you force me to it. I have not forgotten how despicably you treated our old friend, Abel [Yenukidze]. Never did you have a finer friend than Abel and you will never have a truer one. Yet, you caused Abel more harm and hardship than anyone else would do to an enemy. I have not forgiven you that two years ago you turned Abel out of the Kremlin although you had told him, and the people, that he was to become President of the Trans-Caucasian Republics.

 

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