Here the young filmmaker speaks about the relation between criticism (writing about film) and directing (writing with film). He insists that even though most of the so-called "Young Turks" – Chabrol, Rivette, Rohmer, Truffaut – had aspirations to become filmmakers (and most of them made short films in the 1950s) that criticism was never simply a means to an end. "No," he says, "We were thinking cinema and at a certain moment we felt the need to extend that thought" (Godard on Godard 172). To "extend that thought" was to continue it by other means – in this case, by making a film. And yet the critical dimension is not abandoned, merely transformed. More than any of the other "Young Turks," Godard will remain committed throughout his career – and it isn't over yet! – to exploring the affinity between thinking, writing, and filming. Godard, we could say, has spent the last sixty years demonstrating the necessary link that binds these activities to one another: thinking-writing-filming. In this imbrication we find Godard's own particular affirmation of the claims made by Alexandre Astruc in regards "la caméra-stylo."