It’s funny to see that, in spite of being put through their wringer by Godard, Darc and Yanne still praised his direction and vision in a 1968 TV interview for “A vous de Juger.” Admittedly, while these interviews were used to promote the film, still in theaters at the time, Darc and Yanne gush about Godard, with the actress saying she would leap at the chance to work with him again (no such opportunity presented itself however). “I wasn't pampered the way I sometimes am on other productions because it's a totally different style,” Darc proudly insists. “It would have been impossible to work in any other way." Yanne pensively adds: “To me, Godard writes books using a camera. Those are the rules of the game, so you have to respect them. I'm there to serve his vision." That praise is especially impressive when you note how Darc, someone that claims to have eagerly “hunted” Godard down just to work with him, in a 2005 interview, recalls first meeting Godard. “When I ask him why he is consenting to [cast Darc]…his answer chokes the laughter in my throat: ‘Because I don’t like you, I don’t like the character you play in your films and who you are in life, and because the character in my film must be unpleasant.’ ”
Miller confirms historian Alain Bergala’s assertion that Yanne and Darc must have formed a pact to support each other while on set. In fact, Miller supposes that Yanne and Darc’s “serenity” that while, “Jean-Luc had already decided [Darc] was a part of a whole system he hated,” Yanne and Darc agreed, “We'll be as quiet and docile as lambs.” That Buddha-like patience was not however purely altruistic either. Yanne also suggests during his guest spot on “A vous de Juger,” that failing to comply with Godard’s wishes would have been the last thing they did before quitting or maybe even being fired. "He asks you to do something, you must do it, without discussion[…]If you don't want to do it, then don't. But since he's asking, you either do it or quit the film."
While filming without a script was not atypical for Godard, he was always exact enough in his directions that his crew never felt lost. Miller says: “...we knew that his films were often written in the editing room,” but also marvels at how explicit and “very precise” Godard’s orders were. For example, ironically, one of the reasons Godard shot “Weekend” chronologically was “to avoid continuity problems with Darc's costumes[…]even though her costume didn't change much." Miller’s praise carries a lot of weight since his job as 1st AD was to corral everything Godard wanted together. Miller recalls that Godard, with whom he previously worked on both “La Chinoise” and “2 or 3 Things I Know About Her,” was always very exact in his choices, nixing or approving locations for shoots without much fuss. Again, this is saying a lot given that for a scene like the famous neverending car crash scene, Miller was only instructed to find a straight stretch of road and fill it with as many cars as needed.
Coutard also describes Godard as a tough but faithful collaborator. “He's fairly explicit about what he needs and explains what he wants to achieve," Coutard tells interviewer Colin MacCabe. Recalling working with Godard on “Breathless,” their first collaboration, Coutard remembers that he would shoot most scenes in one take. "His direction would stop at that[...]once he finished explaining, you shouldn't really ask him anything else. Personally I've always found him to be very clear."
“Weekend” is considered to be one of Godard’s pricklier films. So it’s no surprise that, according to Coutard, the self-critical discontent that pushed Godard to radically alter his style set in after he released “La Chinoise,” the film Godard made right before “Weekend.” “The Chinese people did not like his 'Chinoise,’ ” Coutard jokingly explains. Godard’s self-loathing would only increase in 1968, the year after he filmed “Weekend.” During the famous events of that summer, when more than two million Parisian workers went on strike, effectively shutting the city down, Godard was less and less sure of his art’s worth. Jones’s description of Godard’ more recent films as being concerned with “poetic time, in which past, present and future are concurrent,” also applies to “Weekend,” which Indiana suggests is a prophecy of the events of May 1968.
Still, in a 1969 interview in Rolling Stone magazine, Godard admits that his “aggression[...]toward the bourgeoisie” is also directed at his own ideology. He even adds that he stopped making films like “Band of Outsiders” for fear that he was not being responsible as a filmmaker. Paraphrasing Mao Tse Tung, Godard wondered: “Where are the right ideas coming from? Are they coming from the sky? No. They are coming from social practice. What is social practice? There are three kinds. There is scientific experiment. There is struggle for production. And there is class struggle. And I discovered, at about the same time as the major events occurred in France, that I was working only in the field of scientific experiment, and I myself have to be related to class struggle and struggle for production, though scientific experiment is still necessary."
Godard goes on to explain that he made “Weekend” to distance himself from films like “Band of Outsiders” for fear that the former kind of film would better serve contemporary viewers. “But movies like ‘Band of Outsiders’ could still be done, but in a happier society, later, when we've found the right way to do it. Instead of being apart from the society, one will be in it. The fantasy at the end of ‘Band of Outsiders’ will become real."
"Weekend" is now available on DVD and Blu-ray via The Criterion Collection.