"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"It’s really about Claire’s Knee for me. Not only do I consider it the best of this series . . . but it was my introduction to La Nouvelle Vague while in my teens."

"I’ve never been very fond of Fellini—too baroque for me. But La dolce vita is an amazing film, summing up an era, a culture, a city; in its own way it is of historical importance. Maybe it is the great Italian film of that period, in the same way that The Mother and the Whore, by Jean Eustache, is the ultimate nouvelle vague film made ten years later, by someone who had been a marginal figure of the movement, and embodying a city, a time, a culture now all gone. My admiration for Jean-Pierre Melville has only been growing through the years. He is a minimalist, like Bresson, but not so much in the sense of emptying the frame—it’s more about getting rid of a lot of the visible to replace it with the invisible. I haven’t been filming a lot of gangsters, but I can understand his fascination for both outlaws and cops, for their world haunted by betrayal and death. In Army of Shadows, he adapts a semi-autobiographical novel by Joseph Kessel and makes the ultimate film of the French Resistance. Both Kessel and Melville had been involved with the Free French, and here cinema meets history. A great artist carried by historical circumstances transcends not just his own inspiration but the medium. Army of Shadows is not only one of the most important French films, it is also a national treasure."

"I’ve never been very fond of Fellini—too baroque for me. But La dolce vita is an amazing film, summing up an era, a culture, a city; in its own way it is of historical importance. Maybe it is the great Italian film of that period, in the same way that The Mother and the Whore, by Jean Eustache, is the ultimate nouvelle vague film made ten years later, by someone who had been a marginal figure of the movement, and embodying a city, a time, a culture now all gone. My admiration for Jean-Pierre Melville has only been growing through the years. He is a minimalist, like Bresson, but not so much in the sense of emptying the frame—it’s more about getting rid of a lot of the visible to replace it with the invisible. I haven’t been filming a lot of gangsters, but I can understand his fascination for both outlaws and cops, for their world haunted by betrayal and death. In Army of Shadows, he adapts a semi-autobiographical novel by Joseph Kessel and makes the ultimate film of the French Resistance. Both Kessel and Melville had been involved with the Free French, and here cinema meets history. A great artist carried by historical circumstances transcends not just his own inspiration but the medium. Army of Shadows is not only one of the most important French films, it is also a national treasure."