When I arrived, Godard was seated at a broad, uncluttered trestle desk in a spacious office on the main floor of one of Rolle’s few modern buildings. He has one wall of compact discs, another of books and pictures, and from his chair, he faces out onto a roomful of video equipment that would do a small TV station proud: sturdy industrial metal racks holding tape decks, switchers, meters, monitors, a bulky sound console squat on the floor, dozens of cables and wires and plugs strung from one board to another, and a computer. A television monitor was on: Godard was keeping an eye on the men’s semifinal matches at the French Open.我到的时候，戈达尔坐在罗尔为数不多的几栋现代化建筑的主楼层一间宽敞的办公室里一张宽大整洁的栈桥办公桌旁。他一面墙是光盘，另一面墙是书和图片，从椅子上，他面朝外面，坐在一屋子的视频设备上，这些设备会让一家小型电视台引以为豪：坚固的工业金属机架，里面有磁带台、交换机、仪表、显示器，地板上蹲着一个笨重的音响控制台，几十根电缆、电线和插头从一块板串到另一块板，还有一台电脑。电视上的监视器亮着：戈达尔一直在关注法网男子半决赛的比赛。