Why did Jean-Luc Godard avoid using scripts?
A pioneering force in the French New Wave movement, Jean-Luc Godard has left a permanent mark on cinema with his rule-breaking and innovative filmmaking techniques. His deliberate avoidance of conventional scriptwriting in the moviemaking process was a notable facet of his unique methodology – instead of meticulously planned dialogue, Godard favoured spontaneity, fluidity and the flexibility of on-the-spot creativity. Watching his films, it’s hard to disagree that this vibrant energy on-set permeates every frame.
During a 1980 conversation with American chat show host Dick Cavett, Godard made a playful yet enlightening disclosure about his approach to scriptwriting. When Cavett enquired about the absence of scripts for his films, Godard refuted it, explaining: “Yeah, there are, but not the way you are doing it here,” with a flourish of two mini notebooks that, to the surprise of Cavett, were his ‘scripts’. The scant pages hosted no more than three sparse phrases each, a mere framework or blueprint to guide the narrative and not a minutely detailed script.
Godard’s minimalist approach to scripting was, in fact, a purposeful move aimed at empowering his actors and allowing for a more organic evolution of the film on set. Jean-Paul Belmondo, a frequent collaborator of Godard, once shared his experience of being handed three short lines: “He leaves Marseilles”, “He steals a car”, “He wants to sleep with the girl again (she doesn’t)”, and “In the end, he either dies or leaves, to be decided”. These sparse guidelines left room for the actors to interpret, react and improvise, creating a more fluid and realistic performance.
Godard’s infamous approach to making his groundbreaking film Breathless illustrates how the director discouraged too much preparation beforehand. During his 1960 film, which is still widely regarded as one of the greatest of all time, the auteur was known to write the dialogue for scenes just moments before shooting. Sometimes, he even dictated lines to his actors through hidden earpieces – a technique that’s difficult to imagine major studios allowing in the current cinematic climate.
In a later interview, Godard explained his philosophy towards filmmaking, stating, “For me, a movie is in two parts. Writing is less movie. So I don’t write anymore very much. But shooting is 50%, and editing is the other 50%. With mixing too.”
Leaning towards filmmaking as a dynamic and evolving process rather than a strictly outlined endeavour, he continued to reveal himself as a champion of authenticity and, most importantly, discovery.
When most modern films are storyboarded to death, it’s unsurprising that Godard’s filmography resonates on a level deeper than most 21st-century works. The legacy of the director’s oeuvre is a testament to the fruitfulness of his unique approach. His films have persistently pushed against the boundaries of cinematic conventions, birthing a new and novel language in cinema that modern filmmakers are still drawing from to this very day.
By abandoning the written word, he was able to focus wholly on the performances at the moment and eliminated any risk of actions or dialogue feeling overly rehearsed or fake. As a modern audience, the results can sometimes be jarring. Several moments in his catalogue of work will be apparent, and even messy, in their lack of scripted guidance. Still, the pure charm and artistry of Godard’s improvised and organic approach pervades throughout and remains one of European cinema’s finest contributions.
