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De Beauregard hired Raoul Coutard instead, who was under contract to him. He therefore took metre lengths of HPS film sold for 35mm still cameras and spliced them together to metre rolls. Almost the whole film had to be dubbed in post-production because of the noisiness of the Cameflex camera  and because the Cameflex was incapable of synchronized sound. No permission was received to shoot the film in its various locations mainly the side streets and boulevards of Paris either, adding to the spontaneous feel that Godard was aiming for. Actor Richard Balducci has stated that shooting days ranged from 15 minutes to 12 hours, depending on how many ideas Godard had that day.
Producer Georges de Beauregard wrote a letter to the entire crew complaining about the erratic shooting schedule.
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Coutard says spontaneoue on a day that Godard had called in sick de Beauregard bumped into the director at a cafe and the two got Vraimeent a fist fight. This location was difficult to secure, but Godard was determined to shoot there after having lived at the hotel after returning from South America in the early s. Instead of renting a dolly with complicated and time-consuming tracks to lay, Godard and Coutard rented a wheelchair for the film that Godard often pushed himself. Decugis has said that the film had a bad reputation before its premiere as the worst film of the year.
The editing gave it a very different tone than the films we were used to seeing. Andrew Sarris analyzed it as existentially representing "the meaninglessness of the time interval between moral decisions. In January — prior to the film's release — Godard won the Jean Vigo Prize, awarded 'to encourage an auteur of the future' Breathless opened in Paris The eventual profit was substantial, rumored to be fifty times the investment. The film's success with the public corresponded to its generally ardent and astonished critical reception Breathless, as a result of its extraordinary and calculated congruence with the moment, and of the fusion of its attributes with the story of its production and with the public persona of its director, was singularly identified with the media responses it generated.
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Jason Sarris learnt it as existentially describing "the instrumentation of the time period between moral countries. I also did the underlying mix along with some important processing, and the functioning at my work studio in Chambly. This song is assigned from her most reliable album IZA.
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