Yesterday I met with [Gerard] Lebovici. He gave me quite good news on the still on-going proceeding against Buchet; and very satisfying news concerning the distribution of The Veritable Split.
For a long time, I have critiqued all of the deplorable and ridiculous sides of the interview with the Observateur.[2] Lebovici willingly agreed and assured me that nothing would be continued in this direction, if harmful to "the brand name" of Champ Libre and thus to our collaboration [on the film version of The Society of the Spectacle].
Due to this affair, I raised the question of the apparent misery of the treasury of his Editions. Thus I have the pleasure of informing you that he formally assured me that there's nothing to worry about; and that, for example, Gallimard will always be deceived in his hope to buy it back. He also affirmed to me that the normal care of regularly keeping his accounts up to date, concerning the small sector of sales with which he is occupied, would not involve a hurried inspection of the small sums that Jean-Pierre can keep.
I briefly raised the question of Rassam,[3] and put in doubt the seriousness of this individual and even his comprehension of the importance of the cinematographic occasion around which he flutters. Lebovici did not guarantee Rassam and even appeared to have a poor idea of his intelligence. But he estimates that Jean-Pierre, given his talent in the genre of debate, has a good chance of obtaining what is necessary by being brusque and by cornering him. I said that I have instead counseled Jean-Pierre to see through Rassam. Lebovici observed that, in what concerns me, my position on this matter is just; but that -- fortunately -- I haven't any need to be in contact with Rassam at this stage; and that Jean-Pierre must act differently. I have thus taken his suggestions, pending what Jean-Pierre thinks of them. Jean-Pierre must thus meet Lebovici as soon as possible and discuss with him what will perhaps bring to a conclusion these vague contacts (Lebovici seems to believe that the recognition of Jean-Pierre as producer will not come up against these manoeuvres and obstacles, which is a desirable perspective, but I leave to him the responsibility for it).
I thus transmit all this to you. Furthermore, on Sunday evening, I was painfully surprised by the fact that Jean-Pierre imputed to me the acceptance, five days previously, of a proposition that I (made after a month of preliminary research) rejected clearly, immediately and in quite lively terms. Moreover, this imputation was advanced in the presence of the same three people who had witnessed my refusal. So as to avoid, in the future, the effects of a distraction pushed so far (I already find something outrageous in the obligation to rectify a complete reversal of my remarks), I think that, henceforth, it is fitting to exchange in writing, to the extent that they will be specific, all the points of agreement or under discussion concerning this cinematographic enterprise.
Cordially,[1] Institute of Contemporary Prehistory.
[2] In which Editions Champ Libre presented itself as poor and virtuous.
[3] Jean-Pierre Rassam, film producer.
(Published in Guy Debord, Correspondance, Volume 4, 1969-1972. Footnotes by Alice Debord. Translated from the French by NOT BORED! July 2005.)