People recommend JLG\Pg movie
Movie Premier in 2008.
Color Info: Color
Countries: Brazil
Genres: Short
Languages: French, Croatian
Locations: Rolle, Canton de Vaud, Switzerland
Runtimes: 8
Tech Info: RAT:1.33 : 1
Release Dates: Germany:4 June 2008
In movie played:
Jean-Luc Godard (actor)
Articles: "The New York Times" (USA), 9 March 2008, Vol. 157, Iss. 52,2444, pg. AR15, by: Terrence Rafferty, "Man, Godard and Nature (and Bardot, Too)", "The Village Voice" (USA), 10 October 2007, by: J. Hoberman, "Blow It Up", "Mojo" (UK), June 2006, Iss. 151, pg. 130, by: Keith Cameron, "The philosopher's Stones: At last, both versions of revolutionary French director Jean-Luc Godard's notorious Stones movie are available together. But what can it all mean?", "Film Comment" (USA), January 2005, Vol. 41, Iss. 1, pg. 34-36+39+42-43, "Chapter and Verse: Richard Combs and Raymond Durgnat on the art of reading Jean-Luc Godard", "Stop Smiling" (USA), 2005, Iss. 23, pg. 85, by: Michael Joshua Rowin, "Weekend In Hell", "The Washington Post" (USA), 5 December 2004, Vol. 127, Iss. 366, pg. N3, by: Desson Thomson, "Godard, The Old Pro Of France's New Wave", "Black Book" (USA), December 2004, Iss. 36, by: Richard Hell, "'Hell at the Movies' #5: A new masterpiece from an old master, Jean Luc Godard's 'Notre Musique' is 79 minutes of heaven, hell, and purgatory", "Film Comment" (USA), January 2004, Vol. 40, Iss. 1, pg. 76, by: J. Hoberman, "Vive La Resistance!", "Film Comment" (USA), September 2003, Vol. 39, Iss. 5, pg. 14-15, by: Frederic Bonnaud, "In His New Video Essay Godard Rediscovers The Joy Of Being Swiss", "Film Comment" (USA), November 2001, Vol. 37, Iss. 6, pg. 14, by: Chris Norris, "'Sound': Godard's 'In Praise of Love'", "International Herald Tribune" (USA), 17 May 2001, Iss. 36763, pg. 24, by: Joan Dupont, "The Return of Godard", "TV Guia" (Portugal), 1997, Iss. 981, pg. 90, "Film Comment" (USA), January 1991, Vol. 27, Iss. 1, pg. 63-66, by: Robert Stam, "The Lake, The Trees", "Oui" (USA), December 1984, Vol. 13, Iss. 12, pg. 77, by: James Verniere, "Godard's French Kiss"
Was voted the 31st Greatest Director of all time by Entertainment Weekly., Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 392-400. New York: The H.W. Wilson Company, 1988., A huge fan of American auteur 'Nicholas Ray' (qv) and famously said that "the cinema is Nicholas Ray."., Was offered the opportunity to direct "Bonnie and Clyde" (1967) after 'François Truffaut' (qv) declined., Had a falling out with 'Francois Truffaut' after Truffaut made it clear that he considered Godard overly cynical in his views and claimed that Godard tried to put down other filmmakers only to raise regard of his own work., As of the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 8 of Godard's films are listed: _À bout de souffle (1960)_ (qv), _Vivre sa vie: Film en douze tableaux (1962)_ (qv), _Le mépris (1963)_ (qv), _Alphaville, une étrange aventure de Lemmy Caution (1965)_ (qv), _Pierrot le fou (1965)_ (qv), _Masculin féminin: 15 faits précis (1966)_ (qv), _2 ou 3 choses que je sais d'elle (1967)_ (qv) and _Week End (1967)_ (qv).
Pictorials: "Télépro" (Belgium), 13 May 2004, Iss. 2619, pg. 24-25, "Les chocs et les émotions du Festival de Cannes", "Ciné-Revue" (Belgium), 30 May 1968, Vol. 48, Iss. 22, pg. 6-10, by: J. v. Cottom and Paul Louis, "Cannes 1968 : Toutes les photos du scandale du Festival"
Nick Names: JLG
Interviews: "Film Comment" (USA), January 2005, Vol. 41, Iss. 1, pg. 37+40-41, "Occupational Hazards: JLG at work, as told to Frederic Bonnaud", "Filmvilág" (Hungary), September 2001, Vol. 44, Iss. 9, pg. 20-21, by: Jacques Drillon/Jacques Mancière/Charles Tesson, "Valami mindig történik", "Film" (West Germany), November 1967, Vol. 5, Iss. 11, pg. 12-16, by: Gideon Bachmann, ""Der Mensch ist Gott, weil Gott keibne Ideale hat"", "Lui" (France), July 1965, Iss. 19, pg. 96-97 + 99, by: René Château, "L'Helvétie pour une lanterne"
Jean-Luc Godard be born in Paris by the tenderloin of December 3, 1930, the second of four daughter in a bourgeois Franco-Swiss focused flesh and blood. His father was a surgeon who applicable a sheltered clinic, and his mother come from an preeminent family of Swiss bankers. During World War II, Godard become a naturalize citizen of Switzerland, and attend the arts school in Nyons ( Switzerland ). His parents nick in 1948, at which incident he return to Paris to attend the Lycée Rohmer. In 1949, he studied at the Sorbonne to concoct all for a reputation in ethnology. However, it was during this time that he initiate attending the 'François Truffaut' (qv), 'Jacques Rivette' (qv), and 'Eric Rohmer' (qv). In 1950, Godard beside Rivette and Rohmer found a "Gazette du cinéma", which published five issues linking May and November. He write varied article for the publication, recurrently using the assumed name 'Hans Lucas'. After method on and finance two films with Rivette and Rohmer, Godard's family crop bad their pecuniary back stirring in 1951, and he resorted to a Bohemian lifestyle that built-in stealing sustenance and cache when inevitable. In January 1952 he began caption attest disapproval for 'Les cahiers du cinéma'. Later that year he traveled to North and South America with his father, and attempt to engender his dictation prehistoric film (of which simply a track shot from a tavern was ever accomplished). In 1953, he returned to Paris briefly in earlier times acquire a profession in scene of a construction member of staff on a barrier extend beyond in Switzerland. With the money from the job, he made a to the point film in 1954 powerfully the station of the dam call _Opération béton (1954)_ (Operation Concrete). Later that year, Godard's mother was kill in a motor scooter lack of luck in Switzerland. In 1956, Godard began writing again for 'Les cahiers du cinéma' moreover as for the journal "Arts". In 1957, Godard work as the clutch attache for "Artistes Associés", and made his first French film appropriate _Tous les garçons s'appellent Patrick (1957) (Charlotte et Véronique). In 1958, he shot _Charlotte et son Jules (1960)_ (qv) (Charlotte and Her Boyfriend), his own homage to Jean Cocteau. Later that year, he take available video of a dip in Paris shot by Truffaut and edited a film called _Une histoire d'eau (1961)_ (qv) (A Story of Water) which was an homage to 'Mack Sennett' (qv). In 1959, he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a tattler column for the journal, but also spent markedly time writing scenario for films and a piece of rigorous writings which placed him permanently in the fore of the 'nouvelle vague' pleasing, precursing the French New Wave. It was also this year that Godard began tough grind on _À bout de souffle (1960)_ (qv) (Breathless). In 1960, Godard married 'Anna Karina' (qv) in Switzerland. In April and May, he shot _Le petit soldat (1963)_ (qv) in Geneva and was prepare the film for a hesitate unfetter in Paris. However, French censor disqualified the film in the red to its reference to the Algerian time of war, and it was not shown until 1963. In March, 1960, _À bout de souffle (1960)_ (qv) premiered in Paris. It was awfully gleeful both with the film critic and at the coffer bureau, and became a high run through film in the French New Wave with its references to American show, its rough editing, and overall romantic/cinephilia outlook to filmmaking. The film propel the popularity of the manly front 'Jean-Paul Belmondo' (qv) with European audience. In 1961, Godard shot _Une femme est une femme (1961)_ (qv) which was his first film using color wide-screen sheep. Later that year, he participate in the communist crack to remake the film _Les sept péchés capitaux (1962)_ (qv), which was herald as an far-reaching project in optical common aid. In 1962, Godard shot _Vivre sa try to win: Film en douze tableau (1962)_ (qv) in Paris, his first commercial glory since _À bout de souffle (1960)_ (qv). Later that year, he shot a segment entitled Le Nouveau Monde for the collective film RoGoPaG, another important work in the earlier extent of collaborative multiple-authored art. In 1963, Godard completed a film in homage to 'Jean Vigo' (qv) entitled _Les carabiniers (1963)_ (qv) which was a breath-taking anticlimax with the laypeople and stirred livid controversy with film critics. Also this year, he worked on a twosome of collective films: _Les plus belles escroqueries du monde (1964)_ (qv) (from which Godard's rotation was following cut) and _Paris vu par... (1965)_ (qv). In 1964, Godard and his wife 'Anna Karina' (qv) formed their own abandon ensemble called 'Anouchka Films.' They shot a film called _Une femme mariée (1964)_ which censors embarrassed them to re-edit due to a topless sunbathe scene shot by 'Jacques Rozier' (qv). The censors also made Godard modify the honour to _Une femme mariée (1964)_ as a result as to not bequeath the condensation that this 'scandalous' female was the classic French wife. Later in the year, two French small screen programs be produced in ardour to Godard's work. In the spring of 1965, Godard shot _Alphaville, une étrange aventure de Lemmy Caution (1965)_ (qv) in Paris; in the summer, he shot _Pierrot le fou (1965)_ (qv) in Paris and the south of France; shortly thereafter, he and 'Anna Karina' (qv) distinct. Following their divorce, Godard shot the film _Made in U.S.A. (1966)_ (qv), _Deux ou trois choses que je sais d'elle (1966), L'amour en l'an 2000 (sequel to Alphaville shot as a depiction for the collective film L'amour travers les ages). In 1967, Godard shot _La chinoise (1967)_ (qv) in Paris with the actress 'Anne Wiazemsky' (qv), who was the granddaughter of the French novelist 'François Mauriac' (qv). During the making of the film, Godard and Wiazemsky were married in Paris. Later in the year, he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film _Loin du Vietnam (1967)_ (qv). He instead shot the sequence in Paris, entitled Camera-Oeil. Also during 1967, Godard participated (as the only Frenchman) on an Italian collective film called _Amore e rabbia (1969)_ (qv). In 1968, Godard was commissioned by French television to make the film _Gai savoir, Le (1968)_ . However, television producers were outraged by the goods Godard produced, and they refuse to show it. In May of 1968, Godard was furious with the firing of guns of Henri Langlois as the principal of the French 'Jean-Pierre Gorin' (qv) to comprise the 'Dziga-Vertov' crowd. Godard became with time implicated with socialist solution to an extraterrestrial cadet cinema, mega in providing the proletariat with the rota of production and dissemination. Along with other militantly ambassadorial filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoint. In the Summer of 1968, Godard travel to New York City and Berkeley California to shoot the film One American Movie, which was never completed. In September he made a flight to Canada to move into another film called Communication(s) which was also not here imperfect, and later made a call in to Cuba before returning to France. In 1969, Godard traveled to England where on earth he made the film British Sounds for BBC Weekend Television, which later refused to show it. In the overdue Spring he traveled with the Dziga-Vertov group to Prague to stealthily shoot the film Pravda. Later that year he shot Lotte in Italia (Struggle for Italy) for Italian television. It was never shown. In 1970, Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled Jusque à la victoire (Until Victory). Later that year he traveled to dozens of American university wearisome to angle money for the film. In brutality of his pains, it was never released.
Height: 5' 7"
Quotes: I make film to make time pass., I don't think you should FEEL about a movie. You should feel about a woman. You can't kiss a movie., Tracking shots are a question of morality., [on Los Angeles] "It's a big garage.", There is no point in having sharp images when you've fuzzy ideas., Every edit is a lie., Up to now -- since shortly after the Bolshevik Revolution -- most movie makers have been assuming that they know how to make movies. Just like a bad writer doesn't ask himself if he's really capable of writing a novel -- he thinks he knows. If movie makers were building airplanes, there would be an accident every time one took off. But in the movies, these accidents are called Oscars., What I want above all is to destroy the idea of culture. Culture is an alibi of imperialism. There is a Ministry of War. There is a Ministry of Culture. Therefore, culture is war., I write essays in the form of novels, or novels in the form of essays. I'm still as much of a critic as I ever was during the time of 'Cahiers du Cinema.' The only difference is that instead of writing criticism, I now film it., In a house there is the top floor and there is the cellar. The underground filmmakers live in the same house as Hollywood, but they work in the cellar. It's up to them if they like to live in the dark. The Hollywood filmmakers are more intelligent, because they have that sunny top floor., A story should have a beginning, a middle and an end, but not necessarily in that order., All you need to make a movie is a girl and a gun., Speaking at the 2004 Cannes Film Festival about filmmaker Michael Moore: "Post-war filmmakers gave us the documentary, Rob Reiner gave us the mockumentary and Moore initiated a third genre, the crockumentary.", It's over. There was a time maybe when cinema could have improved society, but that time was missed., In the beginning I believed in Cannes, but now it's just for publicity. People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year., People in life quote as they please, so we have the right to quote as we please. Therefore I show people quoting, merely making sure that they quote what pleases me., [on cinema] Truth twenty-four times a second., You don't make a movie, the movie makes you., My aesthetic is that of the sniper on the roof., Cinema is the most beautiful fraud in the world., In order to criticize a movie, you have to make another movie.
Birth Notes: Paris, France
Books: David Sterritt. _The Films of Jean-Luc Godard: Seeing the Invisible._ Cambridge University Press, 1999. ISBN 0521580382
Paolo Gregori (actor)
Marcel Izidoro (producer)
Murillo Mathias (producer)
Paolo Gregori (writer)
Murillo Mathias (cinematographer)
André Abujamra (composer)
Paolo Gregori (director)
Marcel Izidoro (editor)
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