"The cinema remains above all photography, and photography is the least subjective of all the arts. The good photographer sees the world as it is, selects from it, separates what is worthy of notice, and fixes it, as if by surprise, without transformations. And how can one think of alteration in respect of that principal element of our craft, the human face? At the time of Toni, I disapproved of make-up. My ambition was to bring the non-naturalistic elements, those which don't depend on the play of encounters, to a style as near as possible to that of everyday acquaintainship. Similarly with the decor; there is no studiowork; the landscapes and houses are as we found them. The human beings, whether played by actors or by the inhabitants of Martigues, strive to resemble the passersby whom they are supposed to represent. The professional actors, with a few exceptions, belong to the social class, the nation, the races, of their role. [...] Everything was done to bring our work as near to documentary as possible."