And at the same time, when you're making a film, 
there are more or less between 300 and 800 shots,
there can be less or much more than that. 
For example in "The confession" or "Z" there are...
I don't know, 1400 I think or something like that.
Those are shots that are; not in Godard's films, 
but in films in general, they are shots that aren't
filmed in order, because we're still finishing the sets,
so we can film the end before filming the beginning.
At the end of the film, there needs to be a sort of 
coherence just like if it had been filmed in order.
Meaning that when you determine which
type of cinematography you're going to be doing,
there obviously comes a time when you need to decide,
before you start filming, how you 
picture the film's cinematography.
Meaning all that depending on the sets. 
Because when we're going to see,
to research locations, so in general assistants 
usually have two or three sets for every...
They present different sorts of 
sets for every scene.
But the film director chooses 
the one he would like to use.
But he doesn't necessarily choose it 
according to how easy it'll be to do the lighting,
it's chosen according to the criteria which are 
not necessarily seen or unseen, I mean...
The emotion that he gets from the sets
is what dictates his decision,
and they aren't necessarily easy to light.
So... I mean, when you see all those sets,
thinking that it might even be possible that 
a few of them slip through your fingers,
because sometimes they say, 
'So this and this', and then you're told,
'No, you can't get the set anymore, 
we're using another one'.
But at the same time it's important to note that 
cinematography... you shouldn't start thinking,
'This set is great, there's room, 
I'll be able to do this sort of cinematography'.
Because it's at risk of being in complete 
imbalance with the cinematography
done on another, more difficult set.
So there's this sort of continuity between
the light and the image conception,
which needs to be done a little earlier, 
in order to determine what will happen.
All that's very important. 
I didn't learn it all straight away,
I found out a little later. With Jean-Luc, 
for "Breathless" it wasn't an issue
because everything was filmed in order,
So... and when we couldn't film, 
we couldn't film. So we would stop.
