Truth to tell, Aurenche and Bost go about their job like scriptwriters all over the world, just as Charles Spaak and Jacques Natanson did before the war. In their view, every story must include characters A, B, C and D. Within that equation, everything is articulated according to criteria known only to themselves. People jump into bed with each other according to a well-organised symmetry, some characters are written out, others are thought up, and the script gradually departs from the original and becomes a shapeless but brilliant whole: a new film, step by step, ceremoniously enters the pantheon of the Tradition of Quality.
It is always a pleasure to wind up a discussion: that way, everyone is happy. It is remarkable that 'great' metteurs-en-scene and 'great' scriptwriters all spent a long time making minor little films, and that the talent they put into making them was not enough to set them apart from the rest (those with no talent). It is also noteworthy that they all espoused the quality ethos at the same time, just as one might pass on a good address to a friend. Remember that a producer — and even a director — earns more money making Le Blé en herbe than Le Plombier amoureux. So-called 'courageous' films have turned out to be very profitable. A case in point is Ralph Habib, who, after suddenly ceasing to make semi-pornographic films, shot Les Compagnes de la nuit (Companions of the Night) and claimed to be walking in Andre Cayatte's footsteps. So what is there to stop people like Andre Tabet, Jacques Companeez, Jean Guitton, Pierre Very, Jean Laviron, Yves Ciampi or Gilles Grangier switching overnight to intellectual films, adapting literary masterpieces (there are still a few left) and, of course, littering their movies with funerals?
Scarface Movie Review & Film Summary (1983) | Roger Ebert
It also has to be remembered that Aurenche and Bost have worked with a wide range of directors. Delannoy, for example, likes to see himself as a mystical moralist. But the petty vileness of Le Garcon sauvage (Savage Triangle), the mean-mindedness of La Minute de verite (The Moment of Truth) and the insignificance of La Route Napoleon (Napoleon Road) demonstrate rather convincingly that he pursued that vocation only intermittently. Autant-Lara, on the other hand, is well known for his non-conformism, his 'advanced ideas and his fierce anti-clericalism; we should recognise that he always has the merit of being true to himself in his movies.