(...)
Gilles Deleuze one day reminded the youngsters of the FEMIS school of cinema that their work as filmmakers would consist in producing ‘blocks of duration-movement’. And if Ford’s blocks remain so perfect, it’s because they respect the most elementary of golden numbers: they only last the time it takes a practised eye to see everything they contain (1). The time to see all there is to see is the right duration and the right movement for an eye as disciplined in the art of looking as Ford’s horsemen are in the art of riding.
(...)
(1) I got this remark from the Portuguese film maker A.P. Vasconcelos.
