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ded to film the story Boule de Suif by Maupassant. Because of these considerations we have shghtly re-worked some passages of the novel, in modernising it ever such a little.
As a quite simple director, however much they may have assigned to me a distinct and independant place in the w^orld of Russian films, I will tell you also what are the opinions which prevail in m}^ personal conception of the cinema, a conception in which I sincerely believe and which I shall put in practice during the realisation of the new film of which we are speaking.
I believe that the principal value of the film has been conferred on it by the diverse and complex character of human emotions.
Passion and feeling alone, have right of entry into films and I am not content myself with registering the completely superficial manifestations of emotion but to seize them entirely and show them in everyday life as they really are.
I want my camera to be like Roentgen, whose raj^s pierce through to the innermost of our being. I want to project on the screen the very foundation of man in order that the analysis of determinate sensations, of acts and thoughts, are translated into luminous images. The academic professor Bechserevv^ who died recently, taught me long ago the science of human reflexes.
I devoted several j^ears to the study of determinism, of psychic states, of the theory of repressions, of Freud in particular, and of diverse manifestations of fear, anguish, sorrow and love. All that I learnt has actually been of great service to me in the preparation of my actors.
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