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“... When I wrote film criticism,’ Jean-Luc Godard said in 1978, ‘I never saw the difference between talking about a film and making one.’ There was a serious difference, as he well knew, since at the time of most of this writing he had not made a film of his own. The claim is interesting, though, because Godard always liked to mix modes, and never really wanted to separate criticism from creation ...”

“... Jean-Luc Godard​ ’s Le Mépris has many admirers, and a restored print of it gets star billing in the BFI’s current season devoted to the director. Certainly it offers some fine quirky moments and angles, but it seems too distracted and awkward to count among Godard’s best films ...”

“... Herald Tribune and wants to be a writer. And we do remember all this, or most of it, as we watch Jean-Luc Godard’s Breathless in the fine new print released for the work’s 50th birthday. The film helps us out, because it is almost entirely faithful to our memories, it has scarcely changed. It’s true it doesn’t feel quite as young as it did, and ...”

“... Whatever else it may be, Jean-Luc Godard’s Histoire(s) du cinéma (now available on DVD from Artificial Eye) does not resemble the afternoon bill at the old Plaza or the new Cineplex. He first thought of creating a history of cinema in 1978. It would be told, he said, ‘archaeologically and biologically ...”

“... I was living in Paris in 1959, the year of both Jean-Luc Godard’s Breathless and Budd Boetticher’s The Rise and Fall of Legs Diamond, and I went to see both of these films the week they were released. In fact, I went back to see them a number of times. I couldn’t help noticing that Godard quoted from another Boetticher movie in the course of Breathless, in the scene where the small-time gangster Michel Poiccard, played by Jean-Paul Belmondo, dives into a cinema on the Champs Elysées in order to shake off a wearisome tail ...”

“... in Georgia) in 2022, Francis Ford Coppola recalled thinking about a famous definition offered by Jean-Luc Godard: a film is composed of a beginning, middle and end, although not necessarily in that order. With a little tweaking the phrase helps us to contemplate this sprawling new movie. It has a beginning and an end, in that order, and more middles ...”

“... abroad can still fail to profit the people who actually made it. He does not go quite as far as Jean-Luc Godard who, on visiting the Nemo set, impishly claims that the mark of a film-maker’s standing can be defined by the percentage of the budget he can spend on himself and his friends. ‘It is impossible to make a film today,’ ...”

“... could remain financially independent and still fail to ask the hard questions: and this is what Jean-Luc Godard seems to be saying in a muddled and nasty letter which signals the end of his friendship with Truffaut – signals only, since there seem to have been several other causes, barely hinted at in this collection. Picking up the image of films as ...”

“... started getting on terribly well with the French and the Italians and the Germans.’ She pays Jean-Luc Godard the compliment that after Breathless (1959), ‘my whole experience of the next decade can be logged in relation to Godard’s movies as if he were some sort of touchstone.’ In another child of the ...”

“... they became film-makers themselves, came to be known as the Nouvelle Vague: François Truffaut, Jean-Luc Godard, Jacques Rivette, Claude Chabrol and Maurice Schérer, later known by his pseudonym, Eric Rohmer. By and large, unlike their counterparts on the left-wing journal Positif, the early Cahiers writers were either effectively on the right, like ...”

“... the most elevated work’ and ‘a spontaneous tendency to go beyond the facts’. Even Jean-Luc Godard, whose 1967 film La Chinoise made fun of the fashion for being seen with Foucault’s Les mots et les choses (if not actually reading it), told an interviewer: ‘If I don’t particularly like Foucault, it’s because of his saying “At ...”

“... who directs my attention to himself and to his wit instead of the people he is interpreting,’ Jean-Luc Godard said in one of his early articles for Cahiers du cinéma. From the beginning Godard liked to be contrary. In a magazine that championed a cinema of personal expression and was to proclaim la politique des ...”

“... and Luce Irigaray). Film theory, one of his long-standing passions, is thrown into the mix, with Jean-Luc Godard praised as at least as great a figure as any of the period’s thinkers. We are speaking of a cultural era which is sometimes compared to ancient Greece and Enlightenment Germany. Roughly speaking, it shifts from the human subject as a ...”

“... characters the conflicts (more destructive in the ranks of the Nouvelle Vague, to be sure) between Jean-Luc Godard, preaching the dogma of continuous revolution, and François Truffaut, the ingratiating humanist. Godard’s background was close to plutocratic, while Truffaut’s early life was almost caricaturally ...”

“... Grosvenor Square), the attitudes to women (should she walk naked down a flight of stairs for Jean-Luc Godard? ‘Don’t you think I am able to make a cunt boring?’ exclaimed the auteur). Sexuality became political when the International Socialists decided to expel her. ‘“You’ve been fucking with a Stalinist,” hissed a man in ...”