Orin's interview with Steeply (pp. 1044–1045)
and I’m seeing The Mad Stork’s face at the glass door over the deck, palms out and thumbs together to make a frame, and Mario my other brother next to him as usual down around his knee, with Mario’s face all squished against the glass from supporting his weight, their breath on the window spreading […] and those two through the back door’s glass just watching, and fucking Booboo also trying to make that frame with his hands
Context
The plan's one-liner verbatim: while Avril runs screaming inside her string border with the mold-rhombus held up like a torch and both sons cry, the father's response is to frame the shot — "palms out and thumbs together to make a frame," through glass, at his own family's apocalypse. The auteur reflex as parental absence: watching through a pane instead of coming out, catastrophe pre-composed. And Mario, down at his knee, "also trying to make that frame with his hands" — the apprenticeship of the book's benign camera-eye (015's filmic function, the Bolex scenes) begins here, imitating the gesture at the same window their breath is spreading on.