the letter from truffaut to godard - a blazing three page polemic about the below, and also film financing - is in the collected letters (ed. gilbert adair; faber). he ends by calling godard the ursula andress of film directors. godard wrote a very gracious foreword to that book; that truffaut, although dead, lived on in a more vibrant way than the rest of us (that is, i assume, godard and the reader).
i think the reason for the split was probably more to do with truffaut's own attempted realigning of his work with the popular, away from the arty - even if they didn't realise it at the time.
ben
-----Original Message-----
From: Film-Philosophy Salon on behalf of Henry M. Taylor
Sent: Thu 16/12/2004 17:42
To: [log in to unmask]
Cc:
Subject: Re: Godard/ Truffaut
From: [log in to unmask]
Apparently they fell out over Truffaut's DAY FOR NIGHT (LA NUIT AMERICAINE,
1973), when Godard - who in a later book suggested the film mythified and
mystified film rather than illuminating it ("and that's why the Americans
love it so much") - quipped that the one shot Truffaut had omitted was himself
and Jacqueline Bisset leaving or entering a restaurant holding hands - their
affair being, according to Godard, the only reason Truffaut had made the
film in the first place. Whereupon Truffaut called Godard an a**hole, and
that was that.
Henry
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