A lovely sentence from Brody's book on Godard,

Duras herself recognised that 'the film was made at the same time as it was filmed; the film was written in step with its unspooling', and criticised directors who did not understand 'that the making of the film is already the film'.

And now a passage which makes me think of Tarkovsky's Mirror:

For Godard, Duras represented a model of integrating his own private experience with the work of art without sacrificing any of its political or vatic power. He had criticised Sartre, in the wake of 1968, for having distinguished his writing of the time (his biography of Flaubert, The Idiot of the Family) from his political activism - for having two separate 'drawers': a 'Flaubert drawer' and a 'class struggle' drawer. Duras made no such distinction: Le Camion, a story of a woman who hitches a ride with a pair of truck dirvers, is dominated by the political delusions of the twentieth century, fascism and communism, without yielding to dogma or diluting the film's artistic immediacy - and Duras told that story herself, on-screen. Adapting Duras's strategies, Godard, beginning with Sauve qui peut, would approach politics by other means, creating feature films that reflected his first-person implication in their subjects, however great or abstract.