In François Truffaut's book-length interview, Hitchcock / Truffaut ( 1967 ), Hitchcock said that MGM wanted North by Northwest cut by 15 minutes so the film's length would run under two hours.

French director François Truffaut's 1972 movie Une belle fille comme moi was based on Farrell's 1967 novel Such a Gorgeous Kid Like Me.

He has written for television, including The Stone Dance ( 1963 ), Children Playing ( 1967 ), House of Character ( 1968 ) ( staged by the Birmingham Rep as No Title in 1974 ), Blodwen, Home from Rachel's Marriage ( 1969 ), Bypass ( 1972 ), Atrocity ( 1973 ), the Alan Clarke-directed Penda's Fen ( 1974 ), and Artemis 81 ( 1981 ); for radio, including No Accounting for Taste ( 1960 ), Gear Change ( 1967 ), Cries from Casement as His Bones are Brought to Dublin ( 1973 ) ( also staged by the RSC ); and for cinema, including François Truffaut's Fahrenheit 451 ( 1966 ).

In the book-length interview Hitchcock / Truffaut ( 1967 ), in response to fellow filmmaker François Truffaut's assertion that aspects of the remake were by far superior, Hitchcock replied " Let's say the first version is the work of a talented amateur and the second was made by a professional ".

Other noteworthy European films which contained nudity include Era Lui, Si Si ( 1952, with Sophia Loren ), Ingmar Bergman's Summer with Monika ( 1953 ), Jean-Pierre Melville's Bob le flambeur ( 1956, with Isabelle Corey, then aged 16 ), François Truffaut's Shoot the Piano Player ( 1960 ), Brigitte Bardot's casual nude scenes in Contempt ( 1963 ) by Jean-Luc Godard, the French film The Game Is Over ( 1966, with Jane Fonda ), Luis Buñuel's Belle de Jour ( 1967, with Catherine Deneuve ), and Isadora ( 1968, with Vanessa Redgrave ).

Hitchcock would later voice his unhappiness with the film in François Truffaut's book-length interview Hitchcock / Truffaut.

For Topaz, Hitchcock engaged the 19-year-old French actress Claude Jade from Truffaut's Stolen Kisses.

In François Truffaut's book Hitchcock / Truffaut ( ISBN 2-07-073574-5 ) Alfred Hitchcock himself described the film as " awful " and said he was " not sorry there are no known prints ".

It is included as a supplement on Criterion's DVD / Blu-ray release of Truffaut's The Last Metro.

Eventually she became Truffaut's companion, giving birth to their daughter, Joséphine Truffaut, on 28 September 1983.

According to Truffaut's theory, auteurs took material that was beneath their talents — a thriller, a pulpy action film, a romance — and, through their style, put their own personal stamp on it.

Victor's life was dramatized in François Truffaut's 1970 film L ' Enfant sauvage ( marketed in the UK as The Wild Boy and in the US as The Wild Child ).

He is included in François Truffaut's 1959 film, The 400 Blows.

Interestingly, both film versions — François Truffaut's La sirène du ( Mississippi Mermaid, 1969 ) and Michael Cristofer's Original Sin ( 2001 ) — place the action at a later time ( and elsewhere ).

* Giraudoux's name is graffitied on a Parisian wall in François Truffaut's 1959 film The 400 Blows as a reference to the writer.

François Truffaut's 1980 film Le Dernier Métro was set during the German occupation of Paris and won ten Césars for its story of a theatre production taking place while its Jewish director is concealed by his wife in the theatre's basement.

The film was shown at the 1959 Cannes Film Festival, alongside Truffaut's Les Quatre Cents Coups, and its success became associated with the emerging movement of the New Wave.

Following this, he starred in François Truffaut's final film, Confidentially Yours.

In 1966, he played book-burning fireman Guy Montag in François Truffaut's film adaptation of the cult-classic Fahrenheit 451 by Ray Bradbury.

It has been suggested that if men ' share a sense of brotherhood and they allow a woman in to their relationship, an isosceles triangle is created ' automatically, as ' in Truffaut's film Jules et Jim '.

Much of the film depicts set-related incidents that echo scenes in Truffaut's La nuit americaine ( English title: Day for night ), to which Irma Vep owes a large thematic debt.

This gesture was used in François Truffaut's 1966 film Fahrenheit 451.

Love on the Run was the fifth and final film in Truffaut's series about the character Antoine Doinel, and Pisier was credited as a co-writer of the screenplay.

It is based on the novel The Long Saturday Night, by the American author Charles Williams, and was Truffaut's last film.

François Truffaut's 1966 film Fahrenheit 451 uses spoken opening credits instead of written ones, in keeping with the film's story of a world without reading matter.

Her other films include Philippe de Broca's movie L ' Homme de Rio, François Truffaut's La Peau douce, Roman Polanski's Cul-de-sac and Where the Spies Are, the film of James Leasor's book, Passport to Oblivion.

Antoine and Colette () is the second film — a short — in François Truffaut's series about Antoine Doinel, the character he follows from boyhood to adulthood through five films.

Antoine Doinel — and Jean-Pierre Léaud, the actor who played him throughout all five films — had made his screen debut in 1959 with Truffaut's first film, The 400 Blows.

Truffaut's tender, semi-autobiographical film about the young Antoine and his gradual descent into petty crime introduced the world to the French New Wave, a short-lived but highly influential outpouring of work from young French filmmakers including Jean-Luc Godard, Claude Chabrol, and Éric Rohmer.

The title of François Truffaut's film Day for Night ( 1973 ) is a reference to this technique.

Peter Keough, critic for the Boston Phoenix, also liked Burman's direction, though at times he said the film felt a bit derivative, and wrote, " Burman captures with an affection and an irony that match François Truffaut's, though his stylistic mannerisms can seem a little imitative.

In 1975 he played a dramatic role as Hypnotist in Francois Truffaut's film " The Story of Adele H ".

The film had a total of 1, 810, 280 admissions in France making it one of Truffaut's most successful films.

1973 was perhaps the peak of his professional career when he had three critically acclaimed films released: Truffaut's La Nuit américaine, Bertolucci's Last Tango in Paris and Eustache's The Mother and the Whore.

One day, after watching François Truffaut's movie Jules et Jim three times in a row, Milton and Márcio started composing ( Milton had already played in some bars of Belo Horizonte ): Márcio wrote the lyrics, and Milton wrote the music.

He then appeared in Ken Russell's The Music Lovers ( 1970 ), Barney Platts-Mills's Private Road ( 1971 ), and François Truffaut's The Story of Adele H. ( 1975 ), but eventually became disenchanted with acting after spending several years out of work and living on social security payments and began writing screenplays.

Some of the first films of this new genre were Godard's Breathless ( À bout de souffle, 1960 ), starring Jean-Paul Belmondo, Rivette's Paris Belongs to Us ( Paris nous appartient, 1958-distributed in 1961 ), starring Jean-Claude Brialy and Truffaut's The 400 Blows ( Les Quatre Cent Coups, 1959 ) starring Jean-Pierre Léaud.

Deneuve's performance in Truffaut's The Last Metro ( 1980 ) was heavily acclaimed and garnered her the César Award for Best Actress.

The following year, she landed her first major role in François Truffaut's The Story of Adèle H. Critics enthused over her performance, with Pauline Kael calling her acting talents " Prodigious ".

She earned respect from European critics for her performance in François Truffaut's Day for Night ( 1973 ), starred in Le Magnifique ( 1973 ) with Jean-Paul Belmondo and The Sunday Woman ( 1975 ) with Marcello Mastroianni.

In 1966, Christie played a dual role in François Truffaut's adaptation of the Ray Bradbury novel Fahrenheit 451, where she starred opposite Oskar Werner.

In the mid-1960s he composed the highly-regarded music score for François Truffaut's Fahrenheit 451.

Breathless, together with François Truffaut's The 400 Blows and Alain Resnais's Hiroshima, Mon Amour, both released a year earlier, brought international acclaim to the French nouvelle vague.

The mild-mannered Daniel Ceccaldi is famous as Claude Jade's father Lucien Darbon in François Truffaut's movies Stolen Kisses and Bed and Board.

Note: Christine refers to him twice as " Lucien ", not papa, indicating perhaps that he is not her biological father, echoing Truffaut's own experience.