Chis Wiegand

As Truffaut had with Les Quatre Cents Coups, Godard shot the film on the streets he knew. ‘This documentary interest in places comes from the Nouvelle Vague,’ he told Film Comment in a 2005 interview concerning Notre Musique. ‘One of the things that bothered us in the French “tradition of quality” films was the complete lack of interest in places, which were neither understood nor looked at. When I put Belmondo and Jean Seberg on the Champs Elysées, it was because I walked up that avenue every day.’

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