"There was a deep sadness that accompanied the writing and assembling of the book, and your question touches on the nature of that sadness, which I think has to do with realizing that theory—whether it’s 10/40/70 or any theory—is an attempt on some level to structure and impose some sort of narrative coherence on our very selves and memories. Our brains are the most vicious total cinema machines of all. Our continual efforts when awake and when sleeping to work out the past, to smooth it into layers of meaning, must certainly wear the gears down until we can’t even hear or feel them moving. Forced into a high level of concentration we come to realize that it’s not films we’re talking about, but ourselves. Our fingerprints are already over everything."
— Nicolas Rombes interviewed by Andrew Gallix