Godard nailed it once and for all: at the cinema, you raise your eyes to the screen; in front of the television, you lower them. then there is the role of the shutter. Out of the two hours you spend in a movie theater, you spend one of them in the dark. It's this nocturnal portion that stays with us, that fixes our memory of a film in a different way than the same film seen on television or on a monitor. But having said that, let's be honest. I've just watched the ballet from An American in Paris on the screen of my iBook, and I very nearly rediscovered the lightness that we felt in London in 1952, when I was there with Resnais and Cloquet during the filming of Statues Also Die, when we started every day by seeing the 10 a.m. show of An American in Paris at a theater in Leicester Square. I thought I'd lost that lightness forever when I saw it on cassette.

Chris Marker, in einem Interview mit der Zeitschrift Libération am 5. März 2003, abgedruckt in Film Comment, Mai/Juni 2003.