"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided." - Hallo friend WELCOME TO AMERICA, In the article you read this time with the title "He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided.", we have prepared well for this article you read and download the information therein. hopefully fill posts Article AMERICA, Article CULTURAL, Article ECONOMIC, Article POLITICAL, Article SECURITY, Article SOCCER, Article SOCIAL, we write this you can understand. Well, happy reading.

Title : "He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."
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"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

That's what Jean-Luc Godard put on paper for Jean-Paul Belmondo for "Breathless," and the rest was improvisation, according to Belmondo, quoted in "Jean-Paul Belmondo, jaunty star of New Wave classic ‘Breathless,’ dies at 88" (WaPo).

He added that he was comfortable with a film almost wholly dependent on improvisation. “If I’m told exactly how to do everything,” he said, “I become stiff and uncomfortable.” He embraced Godard’s suggestion to “play around” with the character.

Knowing that Mr. Belmondo liked to shadowbox in character, Godard filmed him boxing in front of a mirror as he experimented with his lines: “I’m not much of a looker, but I’m quite a boxer.”

The film — sexy, witty, youthful and fatalistic — became a cultural phenomenon. Mr. Belmondo became the subject of articles chronicling “le belmondisme,” his appealing air of insouciance.

He added that he was comfortable with a film almost wholly dependent on improvisation. “If I’m told exactly how to do everything,” he said, “I become stiff and uncomfortable.” He embraced Godard’s suggestion to “play around” with the character.

Knowing that Mr. Belmondo liked to shadowbox in character, Godard filmed him boxing in front of a mirror as he experimented with his lines: “I’m not much of a looker, but I’m quite a boxer.”

The film — sexy, witty, youthful and fatalistic — became a cultural phenomenon. Mr. Belmondo became the subject of articles chronicling “le belmondisme,” his appealing air of insouciance.

Thus articles "He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

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"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

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"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

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"He leaves Marseille. He steals a car. He wants to sleep with the girl again. She doesn’t. In the end, he either dies or leaves — to be decided."

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