Hello, my name is Justin the Clueh, and I'm here today with Will Sloan.

And you're listening to The Important Cinema Club. And today, we're talking about every

film fan's favorite, the French New Wave, right, Will? Yes, and we are talking about

every film fans, I was going to say, least favorite director

from it, but that's probably not true because the people who know this man love this man.

To be a least favorite, he would have to be known by people, as opposed to being completely

anonymous, like Luke Moulet's.

So I first learned about Luke Moulet from you. Actually, I probably heard about him before because he's a Kaye critic. You probably heard about him in one of the Jonathan Rosenbaum books, because that's where I heard about him. Yes, I would have seen that. And also, he had a quote, which I still quote all the time. He was referring to Samuel Fuller, and he said, and I'm just paraphrasing this, on the subject of fascism, the only perspective that is interesting is from a man who has been tempted.

I think of that all the time when thinking about a movie like, I don't know, the Wolf of Wall Street or any movie that trades in problematic subject matter.

So I thank him for adding that to my vocabulary.

I thought you were going to mention the other quote that he has that was stolen from him by Goddard

and that everybody gives to Goddard also about Samuel Fuller, which are tracking shots

are a question of morality.

And then Goddard flipped it and said morality are a question of tracking shots.

And he's the most famous one when it comes to people quoting it.

That's a great quote. And I am ashamed to tell you that I don't know what it means.

I read an interview book about Luc Moulin and the interviewer asks the same thing. And it's mostly it comes down to like tracking shots.

It imposes a kind of meaning,

a kind of ferocity that Samuel Fuller, when he uses them, it could be interpreted as kind of like a fascist kind of manner in the way that, like, it's in your face. There's no other way.

It's a pure imposition on the viewer. I see. Well, okay. That's true. And also all cinematic

techniques are a form of

morality or a form of judgment in some way. But anyway, Luke Moulet, you have done a deep dive into

...