另外是一群在城市中的拾穗者。他們在垃圾桶中翻找食物,找出來的很多是還能食用就因各種標準而遺棄的食物。亦有人在街市撿拾商販掉棄的蔬果。這些人中有如Alain和Solomon一般為生活的人,也有如François一般有正職有收入,但從魚肉菜都衣著都靠拾取,是因為討厭在過度消費主義的當代各種道德上的問題。甚至要導演確認能讓他談及才出鏡。(François said, “Yes, as long as I can express my very strong ideas that waste is related to not knowing what to do with the waste, or badly handling the waste, and it’s related to the oil catastrophes of the Erika boat.”)
“Filming, especially a documentary, is gleaning. Because you pick what you find; you bend; you go around; you are curious; you try to find out where are things. But, you cannot push the analogy further, because we don’t just film the leftovers.”
“How many of these children have ever shaken hands with a garbage collector?”
而十幾年後,當全球面對垃圾問題迫在眉睫也就終於多了很多讓小孩真實面對現壯,面對真相的環保工作坊。
導演在一次訪問中也提到一件事。就是她開拍這段片一開始是出於憐憫之心。(There was a kind of . . . not sentimental, but pitiful feeling.)後來轉化為謙遜之心,這對我來說覺得是非常重要。因為以怎樣的角度去看一個群體就是你到底有多尊重他人。所以也確保自己觀看的時候保持平等的心,去跨時代參與他們的對談。