摘自Nicole Brenez的En quoi l'Authentique Procès serait-il authentique?
1. Godard协助Hanoun制作此片时(1963)给出了这样的指导原则："Take, for example, the concentration camps. The only genuine way to make a film about them would be to film the camp from the point of view of the torturers, with their day-to-day problems [...] What would be most unbearable about such a film would not be the horror emanating from these scenes, but rather their perfectly normal and human aspect."
2. Hanoun采用了Peter Weiss在L'instruction里建立的三条美学原则：a. the reduction of testimonies to their maximum factual density; b. the use of a black backdrop, which suppresses any realistic spatiality and concentrates the spectators' attention on the faces of the protagonists; c. these faces themselves reduced to their primary function (judge, journalist, translator, witness).
3. 影片的另一个灵感来源事艾希曼审判(Adolf Eichmann)录制和播放的影音技巧：static shots of the speakers; short panoramic shots which compensated for reduced number of cameras; alternating shots of the various participants; discontinuity between shots; the constant presence of microphones and headphones; overlapping voices.
4. 关于人声：艾希曼审判在播放时，翻译的声音跟随原声，男女都有。此片中Hanoun将此技巧极端化，完全没有原本的声音，只有翻译：the slow and disjointed rhythm of a form of speech that is dedicated to the translation of another, dissimilar form of speech; accentuation; the attribution of random voices to random bodies, intensified by the film's systematic desynchronization of voice and body.
