"I wish we could stay here forever… and ever… and ever."
On Vikar’s shaved head is tattooed the right and left lobes of his brain. One lobe is occupied by an extreme close-up of Elizabeth Taylor and the other by Montgomery Clift, their faces barely apart, lips barely apart, in each other’s arms on a terrace, the two most beautiful people in the history of the movies, she the female version of him, and he the male version of her.”
"In the films with Jean-Pierre Léaud, often, if he has to do a scene with a young woman that he likes, he gets really juvenile, childlike, and very timid, and if the young woman has never acted before, then she’s intimidated and becomes a little girl. So I take each one out separately, and I’ll say to the young woman, ‘You’re the one who’s mature and strong here, so you do it well.’ I say the same thing to him, and when the two come back, we have a scene that’s completely different." — François Truffaut
"In its iconography, Le Samouraï, like Le Doulos, multiplies Hollywood citations: the line-up at the police station, ‘lifted’ from The Asphalt Jungle, with Jef, like Dix (Sterling Hayden) staring down at police and witnesses, the police station offices, the black-and-white views of American fire escapes through Jef’s (sash) windows. These, however, are not examples of ‘copying’ or ‘reproduction’, as Tavernier and others would have it, but formal elements that are self-consciously reworked in Melville’s original design.” — Jean-Pierre Melville: An American in Paris