A Quote by Ryuichi Sakamoto

I have been a long time fan of Jean-Luc Godard. It's my dream to work with him. — © Ryuichi Sakamoto
I have been a long time fan of Jean-Luc Godard. It's my dream to work with him.
Even if I make fun of him, I try to portray him as a human being. Sometimes because he's the great Jean-Luc Godard, we see him as a concept.
I really liked the Jean-Luc Godard movie, 'Film Socialisme.'
Suddenly I had a call one day saying they'd like me to come to the office to see Jean-Luc Godard. 'He is preparing a film called 'Breathless.' Jean would like to see you.' I said yes. I thought he was pretty strange, because at that time nobody was wearing those kind of glasses where you couldn't see the eyes.
Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film.
It makes no sense to bad mouth people, but I think Jean-Luc Godard is astonishing as a survivalist, somebody who can do a film that is as extraordinary as Goodbye to Language.
Her voice was like a line from an old black-and-white Jean-Luc Godard movie, filtering in just beyond the frame of my consciousness.
I've always thought - and I don't even know if I'd be right for the part - that Jean Seberg would make a great biopic. She was in Jean-Luc Godard's 'Breathless,' she played Joan of Arc. She had this eventful and traumatic adulthood, she thought the FBI was after her, and she became a darling of the French New Wave.
It was a strange love story from the beginning. I could see Jean-Luc was looking at me all the time, and I was looking at him too, all day long. We were like animals.
I think it was [Jean-Luc] Godard who said that life is nothing but a bad copy of film, but then our ambition must be to make better films and better shapes of forms that are given in life.
Jean-Luc Godard said that cinema is the truth 24 frames a second. I think cinema is lies 24 frames a second.
It's always important to talk about what Jean-Luc did - for him, for me, for everyone.
I am a huge Prince fan. It's a very rare thing for him to have people open for him. It's been the Time and Sheila E., and that's about it. Building a relationship with him has been like a dream come true. I've been looking for a mentor, and I feel like I have that in him.
So I called and said, 'Mommy, I'm doing a political film with Jean-Luc Godard. You have to come and sign the contract.' She thought I was lying, so she hung up the phone. But then she came the next day, even though she had never taken an airplane in her life. She came to Paris and she signed my contract.
Anne Wiazemsky wrote two books about her life with Jean-Luc Godard between 1966 and 1969. And I first read the second one, which is about the fall of their love story and their marriage. I immediately thought there was a movie to make with this book because it was so funny, and I thought the love story was very, very touching.
Jean-Luc Godard saw me in a commercial. He first asked me to play a little part in 'Breathless' of a girl who is taking her clothes off. I said, 'No, I don't want to take my clothes off.' But he called me again for 'Le Petit Soldat.' He said it was a political film, so I didn't have to take my clothes off at all.
Everything had been done long before I started making movies. I mean, there's nothing that Godard hasn't already done. You can't do a single thing that Godard hasn't already thought of. And so you struggle to do something that is not predictable.
This site uses cookies to ensure you get the best experience. More info...
Got it!