François Truffaut Bio/Wiki, Net Worth, Married 2018
François Roland Truffaut (French: [tʁyfo]; 6 February 1932 – 21 October 1984) was a French film director, screenwriter, producer, actor, and film critic, as well as one of the founders of the French New Wave. In a film career lasting over a quarter of a century, he remains an icon of the French film industry, having worked on over 25 films. Truffaut's film The 400 Blows came to be a defining film of the French New Wave movement.
Well, to put it bluntly, isn't there a certain incompatibility between the terms cinema and Britain?
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[Reviewing Scarface (1932) in 1954] This isn't literature. It may be dance or poetry. It is certainly cinema.
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Like Fellini, I think that the "noble" film is the trap of traps, the sneakiest swindle in the industry. For a real film-maker, nothing could be more boring to make than a "Bridge On The River Kwai" - scenes set inside office alternating with discussions between old fogies and some action scenes usually filmed by another crew. Rubbish, traps for fools, Oscar machines.
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[In a 1973 interview] {Eric] Rohmer is the best French director now. He became famous very late compared to the rest of us, but for 15 years he's been behind us all the time. He's influenced us from behind for a long time.
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The talent of Godard goes toward a destructive object. Like Picasso, to whom he's compared very often, he destroys what he does; the act of creation is destructive. I like to work in tradition, in the constructive tradition.
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[on Michelangelo Antonioni] Antonioni is the only important director I have nothing good to say about. He bores me; he's so solemn and humorless.
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[in "le Monde", Paris, 1962] The thing which gives me the courage to keep going is that in the cinema industry one does not feel isolated. Solitude is one of the greatest problems facing other artists such as abstract painters and musicians.
[on Jean-Pierre Léaud] The most interesting actor of his generation. There are actors who are interesting even if they merely stand in front of a door; Léaud is one of them.
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Cinema is an improvement on life.
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When I first saw Citizen Kane (1941), I was certain that never in my life had I loved a person the way I loved that film.
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I make films that I would like to have seen when I was a young man.
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One looks at films differently when one is a director or a critic. For example, though I have always loved Citizen Kane (1941), I loved it in different ways at different stages of my career. When I saw it as a critic, I particularly admired the way the story is told: the fact that one is rarely permitted to see the person who interviews all the characters, the fact that chronology is not respected, things like that. As a director I cared more about technique: all the scenes are shot in a single take and do not use reverse cutting; in most scenes you hear the soundtrack before you see the corresponding images - that reflects Orson Welles' radio training, etc. Behaving like the ordinary spectator, one uses a film as if it were a drug; he is dazed by the motion and doesn't try to analyze. A critic, on the other hand, is forced to write summaries of films in 15 lines. That forces one to apprehend the structure of a film and to rationalize his liking for it.
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Originally, I didn't like [John Ford]--because of his material: for example, the comic secondary characters, the brutality, the male-female relationships typified by the man's slapping the woman on the backside. But eventually I came to understand that he had achieved an absolute uniformity of technical expertise. And his technique is the more admirable for being unobtrusive: His camera is invisible; his staging is perfect; he maintains a smoothness of surface in which no one scene is allowed to become more important than any other. Such mastery is possible only after one has made an enormous number of films. Questions of quality aside, John Ford is the Georges Simenon of directors.
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Taste is a result of a thousand distastes.
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Some day I'll make a film that critics will like. When I have money to waste.
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Film lovers are sick people.
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I have always preferred the reflect of the life to life itself
He had two of his films nominated for the same Golden Globe in the Best Foreign-Language Foreign Film category in 1969, a rare occasion. Stolen Kisses (1968) and The Bride Wore Black (1968) competed against each other and both failed to win the award.
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The teenage Truffaut was involved in juvenile petty theft, incidences of violence defiance of authority, and disciplinary incarceration.
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After the war, Truffaut was a devoted cinephile and viewed as many as twenty films each week, keeping a diary on his movie going.
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Truffaut enlisted in the French army in December, 1950, hoping to be assigned to the film branch of the army, but he was ordered first to Germany and then to Indochina as an artilleryman. An unhappy Truffaut deserted twice and was assigned first to a military stockade and later to an asylum. His actions caused him to be dishonorably discharged in 1952.
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Truffaut was an only child who saw little of his working parents during childhood. His maternal grandfather was a great influence on him and is responsible for the director's love of books.
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Truffaut's first review for Cahiers du Cinema was for "Sudden Fear" in 1953.
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Acknowledges he had a very unhappy childhood, which is reflected in his films.
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Interviewed in "World Directors in Dialogue" by Bert Cardullo (Scarecrow Press, 2011).
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He died two days before Oskar Werner, whom he directed in two of the Werner's most celebrated films - Jules and Jim (1962) and Fahrenheit 451 (1966). Truffaut was age 52 and Werner was age 62.
Profiled in "Encyclopedia of French Film Directors" by Philippe Rege (Scarecrow Press).
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Sold la Cause du people (The Peoples' Cause) "revolutionary propaganda" to uphold the cause of freedom of expression on the streets of Paris (June 20th 1970). He had Jean-Paul Sartre and Simone de Beauvoir for company.
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Had a falling out with Jean-Luc Godard after he came to believe that Godard put down the work of others to raise the regard of his own.
Father, with Madeleine Morgenstern, of two girls named Laura (b. January 22th 1959) and Eva (b. June 29th 1961).
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Son of Jeanine de Montferrand. François was raised by his maternal grandparents.
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Member of the jury at the Cannes Film Festival in 1962.
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He was a big Alfred Hitchcock fan and defined him as his master.
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Was rumored to be a contender to direct The Stunt Man (1980), and to have used elements from that film's source, the Paul Brodeur novel of the same name, in the story of Day for Night (1973), but he strenuously denied these rumors in correspondence published after his death, claiming that inspiration had come instead from Singin' in the Rain (1952), 8½ (1963), and The Bad and the Beautiful (1952).
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Was voted the 27th Greatest Director of all time by Entertainment Weekly. He is the highest ranking director on this list who was a film critic before he became a filmmaker.
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When director Sergei Parajanov was imprisoned by the Soviet government, Truffaut signed a petition for his release.
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Birth of his daughter Joséphine with companion Fanny Ardant (September 28th 1983). Partner with Fanny (1981-1984).
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Picked up a hitchhiker once and started a conversation about movies. When it turned out the man had too little knowledge about this subject to participate, Truffaut insisted on him leaving the car.
$7 Million
