Why must one talk? Often one shouldn't talk, but live in silence. The more one talks, the less the words mean.
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Jean-Luc Godard
Jean-Luc Godard (French: [ʒɑ̃lyk ɡɔdaʁ]; born 3 December 1930) is a French-Swiss film director, screenwriter and film critic. He is often identified with the 1960s French film movement La Nouvelle Vague, or "New Wave". Like his New Wave contemporaries, Godard criticized mainstream French cinema's "Tradition of Quality", which "emphasized craft over innovation, privileged established directors over new directors, and preferred the great works of the past to experimentation." As a result of such argument, he and like-minded critics started to make their own films. Many of Godard's films challenge the conventions of traditional Hollywood in addition to French cinema. He is often considered the most radical French filmmaker of the 1960s and 1970s; his approach in film conventions, politics and philosophies made him arguably the most influential director of the French New Wave. Along with showing knowledge of film history through homages and references, several of his films expressed his political views; he was an avid reader of existential and Marxist philosophy. Since the New Wave, his politics have been much less radical and his recent films are about representation and human conflict from a humanist, and a Marxist perspective. In a 2002 Sight & Sound poll, Godard ranked third in the critics' top-ten directors of all time (which was put together by assembling the directors of the individual films for which the critics voted). He is said to have "created one of the largest bodies of critical analysis of any filmmaker since the mid-twentieth century." He and his work have been central to narrative theory and have "challenged both commercial narrative cinema norms and film criticism's vocabulary." In 2010, Godard was awarded an Academy Honorary Award, but did not attend the award ceremony. Godard's films have inspired many directors including Martin Scorsese, Quentin Tarantino, Brian De Palma, Steven Soderbergh, D. A. Pennebaker, Robert Altman, Jim Jarmusch, Wong Kar-wai, Wim Wenders, Bernardo Bertolucci, and Pier Paolo Pasolin
All you need for a movie is a gun and a girl.
Art attracts us only by what it reveals of our most secret self.
The cinema is not an art which films life: the cinema is something between art and life. Unlike painting and literature, the cinema both gives to life and takes from it, and I try to render this concept in my films. Literature and painting both exist as art from the very start; the cinema doesn’t.
When you go to the cinema you look up, when you watch television you look down.
I like the idea of making films about ostensibly absolutely nothing. I like the irrelevant, the tangential, the sidebar excursion to nowhere that suddenly becomes revelatory. That's what all my movies are about. That and the idea that we're in possession of certainty, truth, infallible knowledge,…
Away, away," says hate. "Closer, closer," says love.
Objects exist and if one pays more attention to them than to people, it is precisely because they exist more than the people. Dead objects are still alive. Living people are often already dead.
I pity the French Cinema because it has no money. I pity the American Cinema because it has no ideas.
I don't think you should feel about a film. You should feel about a woman, not a movie. You can't kiss a movie.
Humane people don't start revolutions, they start libraries. And cemeteries.
Every film is the result of the society that produced it. That’s why the American cinema is so bad now. It reflects an unhealthy society.
Poetry is a game of loser-take-all.
The cinema is truth 24 frames-per-second.
Sometime reality is too complex. Stories give it form.
He who jumps into the void owes no explanation to those who stand and watch.