Well I've watched all of Godard's movies at least twice , but many of them much more.

Observations? Godard's New-Wave period initially attempts, impotently, to rival the entertainment value of Tarantino - even with a visual reference to "Pulp Fiction" - but Godard, recognizing the potential in cinema, began to eschew entertainment and did what neither Nolan or Tarantino would dare - truly experiment with cinematic formalism and made his movies much heavier on politics. Nolan knows cinema shouldn't startle, it should leave me sated, like I just ate a McDonald's burger with a large CocaCola. Especially his greater political bent is inadequate in comparison to the apolitical Nolan and the incredibly safe political plays Tarantino takes ('slavery is bad'; 'nazis are bad'). Godard became simply to unsettling politically and ended this period with the loud exclamation point, "Weekend", which fortunately neither Tarantino nor Nolan would ever make the risk to take.

And then , of course , came his 'purely political' period. Punctuated with even greater experimentation in narrative , theme , and again formalism, here Godard again fails because he took many risks and not all of them were incredibly successful. Tarantino and Nolan win again here because neither have ever taken any serious creative risks and have never even intimated the thought of true innovation in cinema, and that's what I think is better. I love that they stay with the narrative and visual conventions that Welles essentially established with Kane. Moreover, while Godard constantly fought consumerism and the notion of 'branding' himself, Tarantino and Nolan took the more noble route of making their pictures signature flicks, the premieres and press as extended meta-set-pieces of their 'auteur' status.

And finally, his latest stage which continues today, where he grew more intimate and close with the subjects he portrayed, yet remains as experimental and unpredictable as ever. This late in his career, Tarantino is already loudly whinging about contemporary cinema and vows to quit making movies after his , what , eighth movie? Tarantino again succeeds where Godard failed because Godard never stopped making movies, making twelvefold Tarantino's output, and if he saw issues in cinema, he addressed them in cinema. Tarantino on the other hand is much more sensible because he refuses to take those risks and is doing what anyone who truly loves cinema would do: quit it.