There must’ve been something pure about making movies back in the 1900s. There was no structure put in place that demanded certain expectations of what a motion picture was, no ego involved that required the creation of celebrity, or the net profits reaped from the industry of filmmaking.
In the days of Georges Méliès, filmmaking wasn’t even an “art form”, it was a plaything. The movie camera was a new toy for magicians and engineers to fool around with. They used it to record performances – and when they realized the potential of technical, visual trickery, they began using the movie camera to manipulate the proscenium arch, devising realms of impossibility. In those days, a filmmaker was a cinémagicien.