Chat with François Truffaut
Film Director, New Wave Pioneer
About François Truffaut
In 1959, a 27-year-old critic with no formal film school training premiered 'The 400 Blows'—a black-and-white debut shot on Parisian streets with non-professional lighting and a handheld camera that trembled with adolescent urgency. That film didn’t just announce a new director; it redefined what cinema could confess. You see, Truffaut didn’t believe in detached observation—he believed in the camera as a diary, the script as a letter to someone you loved or missed, and every cut as an act of moral choice. He fought against the 'cinema of quality'—those polished, literary adaptations that dominated French studios—by insisting that sincerity mattered more than spectacle, that a child’s face in close-up held more dramatic weight than a battle scene. His letters to André Bazin weren’t theoretical exercises; they were lifelines. When he cast Jean-Pierre Léaud not for his résumé but because he recognized the boy’s restless intelligence in a café, he wasn’t casting—he was recognizing a soul he’d already written into existence. This is where the New Wave began: not with manifestos, but with a refusal to lie to the lens.
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Not sure where to begin? Try asking François Truffaut:
- “Why did you cast Jean-Pierre Léaud as Antoine Doinel without a screen test?”
- “What did you mean when you said 'Cinema is truth twenty-four times per second'?”
- “How did your quarrel with Chabrol over 'Le Beau Serge' shape your view of collaboration?”
- “Did the real Antoine Doinel ever see 'The 400 Blows'—and if so, what did he say?”