In the ’90s Olivier Assayas emerged as one of the key figures in the new generation of French filmmakers. As a former critic for Cahiers du Cinema and a die-hard cinephile, he makes his films both personal and referential to the works of directors that he adores. His father was a director/screenwriter in the 1940s who later worked mainly for TV. When it was increasingly difficult for him to work because of a health condition, Olivier started to help him, first merely as a secretary, and then ghostwriting a few screenplays for the Maigret TV series. In the late 1970s he joined the team of influential film magazine Cahiers du Cinema, that once launched the French New Wave. While working for Cahiers he wrote essays on his favorite European filmmakers, Robert Bresson, Ingmar Bergman, Andrei Tarkovsky, and published extensive studies on American horror films and Hong Kong Cinema (the latter came out long before Hong Kong cinema became fashionable with Western filmgoers and critics). He collaborated… read more
“When you’re a filmmaker you have to remain so very close to your youthful ideals, to the things that you have been. You’re sometimes stuck with yourself when you’re an artist. You keep those ideals inside yourself for some reason, and [you] keep on replaying and replaying the same situation of your youth” – Olivier Assayas – http://cinentransit.com/pasado-presente-y-futuro-de-la-teen-movie/#yy
French, yet International, director/screenwriter Olivier Assayas grasps modern times and culture better than anyone, with a touch of rock'n'roll, the hardship of huge corporations and the scent of Asia. "demonlover" in the 2000s is what "L'Avventura" is to the 1960s.