It is worth seeing Parajanov. Verjin kolazh movie (Paradjanov, le dernier collage).
Movie Premier in 1995.
Color Info: Color
Countries: Armenia, France
Genres: Documentary
Languages: Armenian, French
Runtimes: 70
Tech Info: MET:1900 m
Release Dates: Armenia:1995, France:3 December 1997
In movie have been taken:
Benoît Allemane (actor)
Other Works: Provided the voice of L'officier in the French version of _Tenkû no shiro Rapyuta (1986)_ (qv)., French voice of Alex Louis Armstrong in "Fullmetal Alchemist"
Pierre Berger (actor)
Jean-Luc Godard (actor)
Articles: "The New York Times" (USA), 9 March 2008, Vol. 157, Iss. 52,2444, pg. AR15, by: Terrence Rafferty, "Man, Godard and Nature (and Bardot, Too)", "The Village Voice" (USA), 10 October 2007, by: J. Hoberman, "Blow It Up", "Mojo" (UK), June 2006, Iss. 151, pg. 130, by: Keith Cameron, "The philosopher's Stones: At last, both versions of revolutionary French director Jean-Luc Godard's notorious Stones movie are available together. But what can it all mean?", "Film Comment" (USA), January 2005, Vol. 41, Iss. 1, pg. 34-36+39+42-43, "Chapter and Verse: Richard Combs and Raymond Durgnat on the art of reading Jean-Luc Godard", "Stop Smiling" (USA), 2005, Iss. 23, pg. 85, by: Michael Joshua Rowin, "Weekend In Hell", "The Washington Post" (USA), 5 December 2004, Vol. 127, Iss. 366, pg. N3, by: Desson Thomson, "Godard, The Old Pro Of France's New Wave", "Black Book" (USA), December 2004, Iss. 36, by: Richard Hell, "'Hell at the Movies' #5: A new masterpiece from an old master, Jean Luc Godard's 'Notre Musique' is 79 minutes of heaven, hell, and purgatory", "Film Comment" (USA), January 2004, Vol. 40, Iss. 1, pg. 76, by: J. Hoberman, "Vive La Resistance!", "Film Comment" (USA), September 2003, Vol. 39, Iss. 5, pg. 14-15, by: Frederic Bonnaud, "In His New Video Essay Godard Rediscovers The Joy Of Being Swiss", "Film Comment" (USA), November 2001, Vol. 37, Iss. 6, pg. 14, by: Chris Norris, "'Sound': Godard's 'In Praise of Love'", "International Herald Tribune" (USA), 17 May 2001, Iss. 36763, pg. 24, by: Joan Dupont, "The Return of Godard", "TV Guia" (Portugal), 1997, Iss. 981, pg. 90, "Film Comment" (USA), January 1991, Vol. 27, Iss. 1, pg. 63-66, by: Robert Stam, "The Lake, The Trees", "Oui" (USA), December 1984, Vol. 13, Iss. 12, pg. 77, by: James Verniere, "Godard's French Kiss"
Was voted the 31st Greatest Director of all time by Entertainment Weekly., Biography in: John Wakeman, editor. "World Film Directors, Volume Two, 1945-1985". Pages 392-400. New York: The H.W. Wilson Company, 1988., A huge fan of American auteur 'Nicholas Ray' (qv) and famously said that "the cinema is Nicholas Ray."., Was offered the opportunity to direct "Bonnie and Clyde" (1967) after 'François Truffaut' (qv) declined., Had a falling out with 'Francois Truffaut' after Truffaut made it clear that he considered Godard overly cynical in his views and claimed that Godard tried to put down other filmmakers only to raise regard of his own work., As of the 5th edition of 1001 Movies You Must See Before You Die (edited by Steven Jay Schneider), 8 of Godard's films are listed: _À bout de souffle (1960)_ (qv), _Vivre sa vie: Film en douze tableaux (1962)_ (qv), _Le mépris (1963)_ (qv), _Alphaville, une étrange aventure de Lemmy Caution (1965)_ (qv), _Pierrot le fou (1965)_ (qv), _Masculin féminin: 15 faits précis (1966)_ (qv), _2 ou 3 choses que je sais d'elle (1967)_ (qv) and _Week End (1967)_ (qv).
Pictorials: "Télépro" (Belgium), 13 May 2004, Iss. 2619, pg. 24-25, "Les chocs et les émotions du Festival de Cannes", "Ciné-Revue" (Belgium), 30 May 1968, Vol. 48, Iss. 22, pg. 6-10, by: J. v. Cottom and Paul Louis, "Cannes 1968 : Toutes les photos du scandale du Festival"
Nick Names: JLG
Interviews: "Film Comment" (USA), January 2005, Vol. 41, Iss. 1, pg. 37+40-41, "Occupational Hazards: JLG at work, as told to Frederic Bonnaud", "Filmvilág" (Hungary), September 2001, Vol. 44, Iss. 9, pg. 20-21, by: Jacques Drillon/Jacques Mancière/Charles Tesson, "Valami mindig történik", "Film" (West Germany), November 1967, Vol. 5, Iss. 11, pg. 12-16, by: Gideon Bachmann, ""Der Mensch ist Gott, weil Gott keibne Ideale hat"", "Lui" (France), July 1965, Iss. 19, pg. 96-97 + 99, by: René Château, "L'Helvétie pour une lanterne"
Jean-Luc Godard be born contained by Paris next to December 3, 1930, the second of four frogspawn in a bourgeois Franco-Swiss station. His father was a surgeon who personal a calmness clinic, and his mother come from an preeminent family of Swiss bankers. During World War II, Godard become a naturalize citizen of Switzerland, and attend the college in Nyons ( Switzerland ). His parents carve aloft in 1948, at which instance he return to Paris to attend the Lycée Rohmer. In 1949, he studied at the Sorbonne to ferment in favour of a amount in ethnology. However, it was during this time that he uncap attending the 'François Truffaut' (qv), 'Jacques Rivette' (qv), and 'Eric Rohmer' (qv). In 1950, Godard beside Rivette and Rohmer found a "Gazette du cinéma", which published five issues relating May and November. He write many article for the bulletin, incessantly using the nom de plume 'Hans Lucas'. After compatible on and finance two films by the splurge of Rivette and Rohmer, Godard's family shard open severe their pecuniary encourage in 1951, and he resorted to a Bohemian lifestyle that built-in stealing sustenance and possessions when prerequisite. In January 1952 he began handwriting design scolding for 'Les cahiers du cinéma'. Later that year he traveled to North and South America with his father, and attempt to be compensated his opening film (of which simply a track shot from a tavern was ever accomplished). In 1953, he returned to Paris briefly until that time acquire a career by process of a construction hand on a barrier hang over in Switzerland. With the money from the job, he made a to the point film in 1954 nearly the goods of the dam call _Opération béton (1954)_ (Operation Concrete). Later that year, Godard's mother was kill in a motor scooter injure of casualty in Switzerland. In 1956, Godard began writing again for 'Les cahiers du cinéma' moreover as for the journal "Arts". In 1957, Godard work as the constrict attache for "Artistes Associés", and made his first French film qualified _Tous les garçons s'appellent Patrick (1957) (Charlotte et Véronique). In 1958, he shot _Charlotte et son Jules (1960)_ (qv) (Charlotte and Her Boyfriend), his individual homage to Jean Cocteau. Later that year, he take intact demo of a marshland in Paris shot by Truffaut and edited a film called _Une histoire d'eau (1961)_ (qv) (A Story of Water) which was an homage to 'Mack Sennett' (qv). In 1959, he worked with Truffaut on the weekly publication "Temps de Paris". Godard wrote a telltale column for the journal, but also spent manifestly time writing scenario for films and a point of hostile writings which placed him securely in the centre of the 'nouvelle vague' magnificent, precursing the French New Wave. It was also this year that Godard began industry on _À bout de souffle (1960)_ (qv) (Breathless). In 1960, Godard married 'Anna Karina' (qv) in Switzerland. In April and May, he shot _Le petit soldat (1963)_ (qv) in Geneva and was prepare the film for a spatter discharge in Paris. However, French censor prevented the film in the red to its reference to the Algerian time of war, and it was not shown until 1963. In March, 1960, _À bout de souffle (1960)_ (qv) premiered in Paris. It was immensely elated both with the film critic and at the coffer bureau, and became a high barb film in the French New Wave with its references to American indicate, its serrated editing, and overall romantic/cinephilia configuration to filmmaking. The film propel the popularity of the manly position 'Jean-Paul Belmondo' (qv) with European audience. In 1961, Godard shot _Une femme est une femme (1961)_ (qv) which was his first film using color wide-screen sheep. Later that year, he participate in the socialist entice to remake the film _Les sept péchés capitaux (1962)_ (qv), which was herald as an crucial project in ocular cleric to. In 1962, Godard shot _Vivre sa try to win: Film en douze tableau (1962)_ (qv) in Paris, his first commercial glory since _À bout de souffle (1960)_ (qv). Later that year, he shot a segment entitled Le Nouveau Monde for the collective film RoGoPaG, another important work in the precedent of collaborative multiple-authored art. In 1963, Godard completed a film in homage to 'Jean Vigo' (qv) entitled _Les carabiniers (1963)_ (qv) which was a breath-taking breakdown with the community and stirred beside yourself controversy with film critics. Also this year, he worked on a brace of collective films: _Les plus belles escroqueries du monde (1964)_ (qv) (from which Godard's rotation was subsequently cut) and _Paris vu par... (1965)_ (qv). In 1964, Godard and his wife 'Anna Karina' (qv) formed their own prosperity cast called 'Anouchka Films.' They shot a film called _Une femme mariée (1964)_ which censors inhibited them to re-edit due to a topless sunbathe scene shot by 'Jacques Rozier' (qv). The censors also made Godard mend the caption to _Une femme mariée (1964)_ consequently as to not endow with the rewording that this 'scandalous' female was the prototypical French wife. Later in the year, two French small screen programs be produced in impatience to Godard's work. In the spring of 1965, Godard shot _Alphaville, une étrange aventure de Lemmy Caution (1965)_ (qv) in Paris; in the summer, he shot _Pierrot le fou (1965)_ (qv) in Paris and the south of France; shortly thereafter, he and 'Anna Karina' (qv) not linked. Following their divorce, Godard shot the film _Made in U.S.A. (1966)_ (qv), _Deux ou trois choses que je sais d'elle (1966), L'amour en l'an 2000 (sequel to Alphaville shot as a cartoon for the collective film L'amour travers les ages). In 1967, Godard shot _La chinoise (1967)_ (qv) in Paris with the actress 'Anne Wiazemsky' (qv), who was the granddaughter of the French novelist 'François Mauriac' (qv). During the making of the film, Godard and Wiazemsky were married in Paris. Later in the year, he was prevented from traveling to North Vietnam for the shooting of a sequence for the collective film _Loin du Vietnam (1967)_ (qv). He instead shot the sequence in Paris, entitled Camera-Oeil. Also during 1967, Godard participated (as the only Frenchman) on an Italian collective film called _Amore e rabbia (1969)_ (qv). In 1968, Godard was commissioned by French television to make the film _Gai savoir, Le (1968)_ . However, television producers were outraged by the goods Godard produced, and they refuse to show it. In May of 1968, Godard was furious with the shooting of Henri Langlois as the skipper of the French 'Jean-Pierre Gorin' (qv) to comprise the 'Dziga-Vertov' crowd. Godard became waiflike by little bothered with socialist solution to an heavens cadet cinema, mega in providing the proletariat with the means of production and giving out. Along with other militantly diplomatic filmmakers in the Dziga-Vertov group, Godard published a series of 'Ciné-Tracts' outlining these viewpoint. In the Summer of 1968, Godard travel to New York City and Berkeley California to shoot the film One American Movie, which was never completed. In September he made a expedition to Canada to make the first move another film called Communication(s) which was also departed shortened, and then made a call in to Cuba before returning to France. In 1969, Godard traveled to England where on earth he made the film British Sounds for BBC Weekend Television, which later refused to show it. In the postponed Spring he traveled with the Dziga-Vertov group to Prague to in silence shoot the film Pravda. Later that year he shot Lotte in Italia (Struggle for Italy) for Italian television. It was never shown. In 1970, Godard traveled to Lebanon to shoot a film for the Palestinian Liberation Organization entitled Jusque à la victoire (Until Victory). Later that year he traveled to dozens of American university maddening to incline money for the film. In malice of his pains, it was never released.
Height: 5' 7"
Quotes: I make film to make time pass., I don't think you should FEEL about a movie. You should feel about a woman. You can't kiss a movie., Tracking shots are a question of morality., [on Los Angeles] "It's a big garage.", There is no point in having sharp images when you've fuzzy ideas., Every edit is a lie., Up to now -- since shortly after the Bolshevik Revolution -- most movie makers have been assuming that they know how to make movies. Just like a bad writer doesn't ask himself if he's really capable of writing a novel -- he thinks he knows. If movie makers were building airplanes, there would be an accident every time one took off. But in the movies, these accidents are called Oscars., What I want above all is to destroy the idea of culture. Culture is an alibi of imperialism. There is a Ministry of War. There is a Ministry of Culture. Therefore, culture is war., I write essays in the form of novels, or novels in the form of essays. I'm still as much of a critic as I ever was during the time of 'Cahiers du Cinema.' The only difference is that instead of writing criticism, I now film it., In a house there is the top floor and there is the cellar. The underground filmmakers live in the same house as Hollywood, but they work in the cellar. It's up to them if they like to live in the dark. The Hollywood filmmakers are more intelligent, because they have that sunny top floor., A story should have a beginning, a middle and an end, but not necessarily in that order., All you need to make a movie is a girl and a gun., Speaking at the 2004 Cannes Film Festival about filmmaker Michael Moore: "Post-war filmmakers gave us the documentary, Rob Reiner gave us the mockumentary and Moore initiated a third genre, the crockumentary.", It's over. There was a time maybe when cinema could have improved society, but that time was missed., In the beginning I believed in Cannes, but now it's just for publicity. People come to Cannes just to advertise their films, not with a particular message. But the advantage is that if you go to the festival, you get so much press coverage in three days that it advertises the film for the rest of the year., People in life quote as they please, so we have the right to quote as we please. Therefore I show people quoting, merely making sure that they quote what pleases me., [on cinema] Truth twenty-four times a second., You don't make a movie, the movie makes you.
Tonino Guerra (actor)
Robert Hossein (actor)
Sergei Parajanov (actor)
Artavazd Peleshian (actor)
Marina Vlady (actress)
Ruben Gevorkyants (writer)
K. Hamel (writer)
Garegin Zakoian (writer)
T. Trenche (cinematographer)
Rudolf Vatinyan (cinematographer)
Tigran Mansuryan (composer)
Ruben Gevorkyants (director)
Krikor Hamel (director)
Ruben Gevorkyants (editor)
By the way This movie is found also by requests plagiarism
