It features interviews with friends, colleagues, academics, and such movie luminaries as Simone Signoret, Godard, Chabrol, Truffaut and his spiritual successor Jean-Michel Arnold.

He worked as the editor of the Cahiers du cinéma periodical from 1957 to 1963, while most of his Cahiers colleagues – among them Jean-Luc Godard and François Truffaut – were beginning their careers and gaining international attention.

A 1954 article by Truffaut attacked La qualité française (" the French Quality ") and was the manifesto for ' la politique des Auteurs ' which Andrew Sarris later termed the auteur theory — resulting in the re-evaluation of Hollywood films and directors such as Alfred Hitchcock, Howard Hawks, Robert Aldrich, Nicholas Ray, Fritz Lang and Anthony Mann.

Interviewed in 1966 by François Truffaut, Alfred Hitchcock illustrated the term " MacGuffin " with this story:

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.

In his book-length interview Hitchcock / Truffaut ( 1967 ) with François Truffaut, Hitchcock said that he wanted to do " something fun, light-hearted, and generally free of the symbolism permeating his other movies.

In the book Hitchcock / Truffaut ( p. 107-108 ), Hitchcock called it a " phallic symbol ... probably one of the most impudent shots I ever made.

When later interviewed by Francois Truffaut, Hitchcock denied the claim that Shadow of a Doubt was his favourite.

The cinema of cruelty: From Buñuel to Hitchcock ( Francois Truffaut, Ed.

In his book-length interview with François Truffaut, Hitchcock / Truffaut, Hitchcock told Truffaut that he originally wanted William Holden for the Guy Haines role, but Holden declined.

Talking about the structure of the film, Hitchcock said to Truffaut, " Isn't it a fascinating design?

He once commented to François Truffaut – in Hitchcock / Truffaut ( Simon and Schuster, 1967 ) – that this particular cameo was difficult to achieve, due to the lack of passers-by in the film.

" In Truffaut's 1967 book-length interview Hitchcock / Truffaut, Hitchcock paraphrased Thompson's criticism as " Dorothy Thompson gave the film three days to get out of town.

In an interview with François Truffaut, Hitchcock said that he and his wife Alma Reville wrote the first draft of the script together, before bringing in Scottish playwright James Bridie to do a polishing – but Selznick was dissatisfied with the result, and would view the previous days rushes, do a rewrite, and send the new scenes to the set to be shot.

One of the most famous was The Apu Trilogy ( 1955 – 1959 ) from critically acclaimed Bengali film director Satyajit Ray, whose films had a profound influence on world cinema, with directors such as Akira Kurosawa, Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg ,< ref name = unmaderay >

By arguing that films had auteurs, or authors, Truffaut sought to make films ( and their directors ) at least as important as the more widely-accepted art forms, such as literature, music, and painting.

In 1968, following the example of Cahiers du Cinéma critics Truffaut, Jean-Luc Godard, Claude Chabrol, and Éric Rohmer who had created the Nouvelle Vague (" New Wave ") by making their own films, Bogdanovich decided to become a director.

Though it had little commercial success in the US, it was well received in Europe, particularly by critics like future filmmaker François Truffaut.

He was found dead of a heart attack the following morning, two days after François Truffaut had died.

Truffaut was immediately captivated by the fourteen-year-old adolescent, who had already appeared the previous year with Jean Marais in Georges Lampin's La Tour prends garde!

Extremely cultured for his age, he was already very good at writing, and he even claimed to Truffaut that he had written a " verse tragedy ", Torquatus.

Malle is sometimes associated with the nouvelle vague-though his work does not directly fit in or correspond to the auteurist theories that apply to the work of Godard, Truffaut, Chabrol, Rohmer, and others, and he had nothing whatsoever to do with Cahiers du cinéma, he did exemplify many of the characteristics of the movement, including using natural light, and shooting on location.

Pisier had a brief but incendiary romance with the older, married Truffaut.

Ray's work subsequently had a worldwide impact, with filmmakers such as Martin Scorsese, James Ivory, Abbas Kiarostami, Elia Kazan, François Truffaut, Steven Spielberg, Carlos Saura, Jean-Luc Godard, Isao Takahata, Gregory Nava, Ira Sachs and Wes Anderson being influenced by his cinematic style, and many others such as Akira Kurosawa praising his work.

Truffaut, with The 400 Blows ( 1959 ) and Godard, with Breathless ( 1960 ) had unexpected international successes, both critical and financial, that turned the world's attention to the activities of the New Wave and enabled the movement to flourish.

Truffaut had just finished Jules and Jim in 1962 when he was approached by film producer Pierre Roustang for his omnibus film project Love At Twenty.

In the book-length interview Hitchcock / Truffaut ( 1967 ), Hitchcock said he had hired Anita Björk as the female lead for I Confess, after seeing her in Miss Julie ( 1951 ).

* In Truffaut / Hitchcock, Hitchcock told François Truffaut that Under Capricorn was such a failure that Bankers Trust Company, which had financed the film, repossessed the film, which then was unavailable until the first US network television screening in 1968.

In the Truffaut interview, Hitchcock also mentioned the New York Times reviewer, who wrote that the viewer had to wait almost 100 minutes for the first suspenseful moment.

Hitchcock told Truffaut " The film had no story to tell ".

One of the film's stars, François Truffaut, publicly criticized Phillips as incompetent, a charge she rejected, writing that she had essentially nursed Truffaut through his self-created nightmare of implied hearing loss, sickness and chaos during the production.

François Truffaut was inspired by Little Fugitives spontaneous production style when he created The 400 Blows ( 1959 ), saying long afterwards: “ Our New Wave would never have come into being if it hadn ’ t been for the young American Morris Engel, who showed us the way to independent production with fine movie .”

There, Rohmer established himself as a critic with a distinctive voice ; fellow Cahiers du Cinema contributor and French New Wave filmmaker Luc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Francois Truffaut and Jean-Luc Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used the first person singular.

The French New Wave filmmakers such as Jean Luc Godard and François Truffaut and their American counterparts such as Andy Warhol and John Cassavetes also pushed the limits of editing technique during the late 1950s and throughout the 1960s.

Jules et Jim by François Truffaut deconstructed a complex relationship of three individuals through innovative screenwriting, editing, and camera techniques.

In Europe, Art Cinema gains wider distribution and sees movements like la Nouvelle Vague ( The French New Wave ) featuring French filmmakers such as Roger Vadim, François Truffaut, Alain Resnais, and Jean-Luc Godard ; Cinéma Vérité documentary movement in Canada, France and the United States ; Swedish filmmaker Ingmar Bergman, Chilean filmmaker Alexandro Jodorowsky and Polish filmmakers Roman Polanski and Wojciech Jerzy Has produced original and offbeat masterpieces and the high-point of Italian filmmaking with Michelangelo Antonioni and Federico Fellini making some of their most known films during this period.

Initially edited by Éric Rohmer ( Maurice Scherer ), it included amongst its writers Jacques Rivette, Jean-Luc Godard, Claude Chabrol and François Truffaut.

The magazine also was essential to the creation of the Nouvelle Vague, or New Wave, of French cinema, which centered on films directed by Cahiers authors such as Godard and Truffaut.

In his 1968 film La Mariée était en noir François Truffaut plays on this mythological symbol.

François Roland Truffaut ( 6 February 1932 – 21 October 1984 ) was an influential filmmaker and film critic, one of the founders of the French New Wave.

Additionally, Cahiers critics such as Jean-Luc Godard, François Truffaut, Claude Chabrol, Jacques Rivette and Eric Rohmer went on to make films themselves, creating what was to become known as the French New Wave.

From 1959 until 1979, Truffaut followed Léaud's character Antoine Doinel, who falls in love with Christine Darbon ( Claude Jade from Hitchcock's Topaz ) in Stolen Kisses, marries her in Bed & Board and separates from her in the last post-New Wave movie Love on the Run.

Many contemporaries of Godard and Truffaut followed suit, or achieved international critical acclaim with styles of their own, such as the minimalist films of Robert Bresson and Jean-Pierre Melville, the Hitchcockian-like thrillers of Henri-Georges Clouzot, and other New Wave films by Agnès Varda and Alain Resnais.

This branch of criticism, begun by François Truffaut and the other young film critics writing for Cahiers du cinéma, was created for two reasons.

François Truffaut wrote and directed a film adaptation of the novel in 1966.

A film adaptation written and directed by François Truffaut, starring Oskar Werner and Julie Christie was released in 1966.

* 1932 – François Truffaut, French film director ( d. 1984 )

His work is admired by many notable directors including Peter Bogdanovich, Martin Scorsese, François Truffaut, Michael Mann and Jacques Rivette.

It is based on the novel Waltz into Darkness by Cornell Woolrich, and is a remake of the 1969 Francois Truffaut film Mississippi Mermaid.

In a sequence from the 1968 film Baisers volés ( Stolen Kisses ), François Truffaut shows the fast transportation of a letter through the underground pneumatic tubes system in Paris.

" This is a reference to fellow filmmakers Yasujirō Ozu, François Truffaut, and Andrei Tarkovsky.

French filmmaker François Truffaut once called Herzog " the most important film director alive " and American film critic Roger Ebert stated that Herzog " has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting.

* October 21 – François Truffaut, French film director ( b. 1932 )

* February 6 – François Truffaut, French film director ( d. 1984 )

He was an acknowledged master for the critics of Cahiers du Cinema in general and André Bazin, François Truffaut, Jean-Luc Godard in particular.

" Jean-Luc Godard and François Truffaut were rebelling against existing cultural values and used cinema as a means of expression simply because it was the most avant-garde medium at the time ," said Besson in The New York Times.