Jean Luc Godard does things the way he wants them, he's is own man, nobody, not even his loyal audience sways him, he makes movies his way, no other way. Cinema meant so much to Godard, he viewed the course with which it would take with horror and derision, this is the guy who debunked Spielberg as, well, not very good. An early apostle to the cine clubs that proliferated Paris in the fifties, he made contact with fellow devotees Truffaut, Jacques Rivette and Eric Rohmer. It was they that espoused the auteur theory - the film was the director's, it was their vision, films were not collaborations - the cast and crew did what the director directed and it was the director's job to do just that - direct.

Godard's first feature came in 1959, A Bout de Souffle/Breathless, formed part of the New Wave movement, which was characterised by shooting quickly and on low budgets dealing with contemporary life and youth culture and perceived in an unsentimental manner. Godard broke with all conventions of filming, delighting in smashing axiomatic rules and conventions. Godard's output following A Bout de Souffle was prolific, producing two or three films every year. His next feature Un Petit Soldat (1960) cast Anna Karina, the Danish model who would become Godard's muse and regular leading lady throughout the first half of the 1960s.With Pierrot le fou (1965) Jean-Luc Godard embarked on a new film form that blurred the demarcation between cinematic narrative and cinematic essay.



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