I like other people. I’ve always considered the French-speaking part of Switzerland as a province of France.SARRIS: Where do you spend most of your time nowadays?GODARD: I live mostly in Switzerland, but we still have an office in Paris, and I suppose we legally belong to France.GODARD: No, no, no. You can call me the man in the middle.SARRIS: Do you keep up with your old colleagues from SARRIS: What do you think of your surviving colleagues, like Claude Chabrol and Eric Rohmer?GODARD: I appreciate them all… Not all of them, but some of them. © 2020 Interview Magazine. This site offers broad public access to these materials exclusively as a contribution to education and scholarship, and for the private, non-profit use of the academic community.

", an obvious outlet of the frustration so many Godard's engagement with German poet and playwright In an essay on Godard, philosopher and aesthetics scholar The period that spans from May 1968 indistinctly into the 1970s has been subject to an even larger volume of varying labeling. I am only two years older than Godard, who was born on December 3, 1930 in Paris, but he has always seemed much younger in spirit, and much older in wisdom. There was, however, a distinct post-war climate shaped by various international conflicts such as the colonialism in North Africa and Southeast Asia. The extras did more acting than he did. I’ve always been shuttling between these two worlds, never firmly planted in either one.SARRIS: You were already talking about the women in Geneva and Lausanne in GODARD: Yes. And you discover how to do that by being linked to the militant people, by being yourself as militant as you can. The average income in France is $1,000 a month, and you can’t live decently on that. No, you don’t have to forget. I can go and discuss it with people, I don’t need to be behind the camera. Though many of his films from 1968 to 1972 are feature-length films, they are low-budget and challenge the notion of what a film can be. So I take from them the class struggle analysis and then bring in my own scientific experiment. He was always much closer to Rossellini, for example, than to Hitchcock. Leaving aside the question of political commitment, would you say that you are artistically committed?

This was Godard’s narrative aesthetic, and he accepted full responsibility for it. I’m very interested in tennis, but when I try to tell younger players about [Bill] Tilden, they’re not interested.SARRIS: I noticed you walking around with your racket in SARRIS: I’ve always noticed in your films that you’ve emphasized the physicality of life, what people do with their bodies.SARRIS: But I’m thinking of something more extreme, like in GODARD: Yes, it teaches us about the human body and how we look at things. They include everything from his "militant" period, to his "radical" period, along with terms as specific as "Amid the upheavals of the late 1960s, Godard became passionate about "making political films politically." If there were a hundred more, made by a hundred different people, it wouldn’t be like that. In my case, it was my natura way of doing things.

These people have been taught that a James Bond film is a simple movie, while in fact it’s really complicated and complicated in a dreadful, in a silly way because there was no need for complication.What if a James Bond fan comes out of the movie and says, That’s because it’s the only film like that.

And if it does die, I think it’s crueler to kill him later than right away.It was exactly the opposite with Bob Dylan. Godard produced several pieces that directly address the In the same film, the lovers accost a group of American sailors along the course of their liberating crime spree. Jean-Luc Godard filming scenes for 'Sympathy for the Devil' in 1968.

I manage to avoid voting in either country. I didn’t have to pick up a rifle to make SARRIS: Still, there was a period, say, in 1968, when you seemed to be much more active.GODARD: Oh, yes, but we are all older and more tired.SARRIS: I can’t argue with that. All original photographs and articles are copyright to their respective owners. I tried to interview him at about the same time I interviewed the late François Truffaut, but somehow we missed connections. I mean, I’m asking not to be killed but to be able to live with my wife and things like that, but I’m really not especially asking to make pictures.