WA [discussing Kael on Godard]: And she talks about how Godard’s movies are filled with – they’re literary, they’re filled with words. There’s titles on the screen and there’s letters and there’s writing everywhere. And there’s people quoting – people just reciting from books, and I do that. And this movie, now we’re looking at another letter [from Ned to Zissou] – it’s filled with writing.
NB: And I like- again, something he might do, his- we see Ned reading a crumpled up letter that’s obviously been around a long time, but then when we go to the insert, we go to the original letter [when it was first written] in a very formal way, with the pencil above it.
WA: Yes. In fact, I think one of the letters is situated in this environment where Zissou would have written it and Ned’s is situated in this place where Ned would have written it – his desk, when he was 11, and a half.
NB: And it brings- we talked about how you use words and letter-writing – in a ???[filmmaker’s name], when people write letters they actually speak to the camera and they’re superimposed over images…
This exchange struck a cord with me as well. I’m doing a bit of spring cleaning, going through old papers and what I seem to be hanging on to is meaningful correspondence, just as we see in The Life Aquatic. I’m fascinated by the attention to detail