As the Nouvelle Vague film movement modified cinema’s traditional approaches, it highlighted alongside its actors, a new celebrity figure: the director. François Truffaut, one of the Nouvelle Vague’s leading filmmakers, thus became the Pygmalion of a whole generation of upcoming actors and actresses such as Jean-Pierre Léaud, Claude Jade and Bernadette Lafont while he discovered and launched Nathalie Baye as well as Fanny Ardant. François Truffaut loved women he turned into actresses or actresses he turned into his women. A seducer, he fell in love with Claude Jade whom he decided not to marry shortly after he had proposed, Jeanne Moreau, Marie-France Pisier, Fanny Ardant - his last partner - and even Catherine Deneuve who was at the origin of one of his harshest depressions. To him, actresses incarnated cinema and the director who detested sexual scenes had found a way of making love with his muses simply by filming them - ‘Cinema is the art of getting pretty women do pretty things’.