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The Questions Truffaut was asking himself at the beginning of the 1960s was were the questions that face any successful creator following initial success. In particular, where to go next? For Truffaut, life was rapidly becoming a series of scenarios, each having its own, variable, period of gestation. Not infrequently, ideas, some quite well developed, were abandoned. For example, in 1961 he wrote to Aznavour to discuss as possible musical with him as lead, mentioning at the same time the sketch for Léaud that was to become the second Doinel film: Antoine et Colette. A letter to his American friend and collaborator Helen Scott, written three years later, sheds light on his method of planning: always adaptable and flexible, he lined up a number of projects knowing that finances, rights, availability of actors, competition for scripts were so many rocks on which good ideas could founder:
Comme Resnais et comme les Américains, je vais lancer trois ou quatre scénaristes … sur des sujets de films que j’ai en réserve … Voilà quels sont ces projets: 1. L’Enfant sauvage (l’histoire de l’enfant-loup que je vous ai racontée); 2 La Petite Voleuse (genre Monika, d’Ingmar Bergman, naissance de la féminité et de la coquetterie chez une petite délinquante, 400 Blows femelle); 3. une histoire genre Pianiste ouBande à part pour Jean-Pierre Léaud, peut-être un vieux roman de Goodis; 4. une comédie dramatique sur un couple jeune qui se sépare et se réconsilie, pour, éventuellement, Romy Schneider et Belmondo; 5. et, enfin, le film dont je parle depuis longtemps et dont toute l’action se déroulerait dans une école‘ (Truffaut 1988: 284).
Although the fourth object bears a faint resemblance to Domicile conjugal, only two of the above survived to reach the screen: L’Enfant sauvage was completed four years later in 1969; the last became L’Argent de poche (1976). The rights to La Petite Voleuse were bought by Claude Berri and the film was eventually made, respecting Truffaut’s scenario, by Claude Miller. The others, like Bonnie and Clyde which was originally written for him and on which he did a good deal of work, simply evaporated as other projects took their place.
~ Diana Holmes & Robert Ingram: François Truffaut. Manchester 1998, pp. 46-47
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"Don't play what the public want. You play what you want and let the public pick up on what you doin' -- even if it take them fifteen, twenty years." (Thelonious Monk) | Meine Sendungen auf Radio StoneFM: gypsy goes jazz, #169 – 13.01.2026, 22:00 | Slow Drive to South Africa, #8: tba | No Problem Saloon, #30: tba