Joelle cleaning; the Incandenza Thanksgiving (pp. 739–740)
It was Orin, of course, who’d introduced them. He’d had this stubborn idea that Himself would want to use her. In the Work. She was too pretty for somebody not to want to arrange, capture. Better Himself than some weak-chinned academic. Joelle’d protested the whole idea. […] Even more to the immediate point, her filmic interests lay behind the lens. She’d do the capturing thank you very much. She wanted to make things, not appear in them. She had a student filmmaker’s vague disdain for actors.
Context
The scene's camera-grammar for beauty: "arrange, capture" — Orin markets her to the auteur as footage-in-waiting, and Joelle counterclaims the lens side ("She'd do the capturing"). The later arc — "filmed her at prodigious and multi-lensed length" (060), the wobble-lensed monologue of the final cartridge — is this sentence losing, though the raw here states only the starting positions. Orin's real project gets named too: Joelle as the optical channel to his father, "weighty, steeple-fingered conversations... Joelle's appearance and performance the subjects."