The idea that there exists a democracy of images, that one image is no more or less valid, interesting, and worthy of note than any other possible image, is in direct contradiction of so many of the norms of modern culture that, even today, it remains a radical statement. Godard's assertion that stories and characters can be abandoned to study the leaves on a nearby tree, or the swirling rings stirred up by a spoon in a coffee cup, is radical because it steps away from the conventions of Hollywood film and the aspirations of classical art alike; both of these venerable cultural institutions aim to create images that are potent, memorable, and intrinsically interesting. Godard, who had always recognized that boredom could be just as "interesting" as activity, here goes even further, positing still more unconventional equalities: between narrative and abstraction, between beauty and the prosaic, between reality and fiction, between people and objects, and, in a clear forerunner of his later films, between sound and image. Only the Cinema
Em Ed Wood, um decrépito Bela Lugosi, sugere a um apressado e diligente Ed qualquer coisa como isto: Para quê tanta pressa? Porque não filmar o viúvo a mexer delicadamente nas flores?