"To start with I made some reference by acting it out, took photos and printed them out, I drew them in my sketch book, using what I learnt in animation principals where u put a cross through the character, so you can tell where the weight is distributed on the foot and the angle of the shoulders and pelvis. Once I am happy, I drew boxes on top of the pose."
(Alexander Bax, deviantART)
F.g.1-6 Alexander Bax, fighting and fencing poses
"Godard is right at home here, especially following his 80s fare like Passion and First Name: Carmen. In this decade more than ever before, Godard was preoccupied with the fusing of image and sound, in the vein of Renaissance art and music. This means that he's obsessed with the human form, male and female bodies. Historically, this creates something curiously hybrid. While classical opera may have to do with bodies, Godard's style is decidedly closer to that of pre-Classical painting, with uncovered figures posing still in order to be admired or, better, worshiped. Godard's use of male bodies juxtaposing the females here fits nicely into his standard approach to bodies along with everything else: exchange of commodities. The transaction doesn't take place in the segment; the problem is an imbalance of supply with demand, a Marxist cliché that Godard is only too glad to inject into a series of films supposedly just about art and love."
(Zach 'Andrews idea', 29/08/2010)