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Praising Otto Preminger and "the greatest American artist—Howard Hawks", Godard raises their harsh melodramas above the more "formalistic and overtly artful films of Welles, De Sica and Wyler which Bazin endorsed".At this point Godard's activities did not include making films—rather he watched films, and wrote about them, and helped others make films, notably Rohmer, with whom he worked on Présentation ou Charlotte et son steak.His collaborations with Karina—which included such critically acclaimed films as Bande à part (1964) and Pierrot le Fou (1965)—was called "arguably the most influential body of work in the history of cinema" by Filmmaker magazine.

The company that administered the dam bought the film and used it for publicity purposes.

Having left Paris in the autumn of 1952, Godard returned to Switzerland and went to live with his mother in Lausanne.

He became friendly with his mother's lover, Jean-Pierre Laubscher, who was a labourer on the Grande Dixence Dam.

She was the great-granddaughter of theologian Adolphe Monod.

Relatives on his mother's side include also composer Jacques-Louis Monod, naturalist Théodore Monod and pastor Frédéric Monod.

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