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Ah, that's what I meant, not that he invented people staring into the camera, but the way he would incorporate that into his movies to show emotional depth. He would completely interrupt the storytelling with scenes of that... Like that scene in Pierrot where Anna Karina's character says "of course" and looks at the camera... almost makes me want to cry, in all seriousness. That's what Kitano does too.. to convey "emotion", he'll have the characters stare directly into the camera. It's a neat trick.
I've noticed some other weird tricks Godard employs often. Some are obvious (the title screens), but some are a bit weirder. I've noticed he often plays with the sound in his films, more than any director I can think of. He won't simply let a track drone on.. it's odd. Take that scene in Weekend where there is a long story about eggshells and cum and dog bowls and all that weird shit. The most suspensful, abrasive, weird music will play at random times, out of nowhere. What was up with that? In fact, that whole movie is so purposely abrasive as to be ridiculous. Maybe that's why I love it. A FILM FOUND IN A TRASH DUMP. THE END OF CINEMA. Haha. Also, he often incorporates brilliant silence into his movies.
I found out recently Godard has 94 films.
90 fucking 4.
Strangely, almost the entire focus on him is films he made at the beginning of his career. I'll admit, I haven't seen anything past a certain point yet, but some of it is hard to find! I have shit like "For Ever MOZART" and "Detective" in my netflix queue. Very curious...
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