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When Jean-Luc Godard wed the ideals of filmmaking to the realities of
autobiography and current events, he changed the nature of cinema. Unlike
any earlier films, Godard’s work shifts fluidly from fiction to
documentary, from criticism to art. The man himself also projects
shifting images—cultural hero, fierce loner, shrewd businessman. Hailed
by filmmakers as a—if not the—key influence on cinema, Godard has entered
the modern canon, a figure as mysterious as he is indispensable.
In Everything Is Cinema: The Working Life of Jean-Luc Godard
(Metropolitan), critic Richard Brody has amassed hundreds of interviews
to demystify the elusive director and his work. Paying as much attention
to Godard’s technical inventions as to the political forces of the
postwar world, Brody traces an arc from the director’s early critical
writing, through his popular success with Breathless, to the grand
vision of his later years. He vividly depicts Godard’s wealthy
conservative family, his fluid politics, and his tumultuous dealings with
women and fellow New Wave filmmakers.
Everything Is Cinema confirms Godard’s greatness and shows
decisively that his films have left their mark on screens everywhere.
"Godard changed the movies as much as the American masters he grew up on:
Welles, Hawks, Hitchcock, and the rest. He is as original as Picasso—but
unlike Picasso, he has been denied the biography he has always deserved.
This is it. Just at the moment when the New Wave turns fifty, Richard
Brody has given us Everything Is Cinema, a remarkable book which
describes with sharp intelligence a great and elusive artist's times,
intellect, passions, and work."—Wes Anderson, writer and director of
Rushmore, The Royal Tenenbaums, and The Life Aquatic.
Richard Brody, a film critic and editor at The New Yorker, is also an
independent filmmaker who lives in New York City. Everything Is
Cinema is his first book.
For more information about Everything Is Cinema: The Working Life of
Jean-Luc Godard, visit Metropolitan Books.
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