"In its iconography, Le Samouraï, like Le Doulos, multiplies Hollywood citations: the line-up at the police station, ‘lifted’ from The Asphalt Jungle, with Jef, like Dix (Sterling Hayden) staring down at police and witnesses, the police station offices, the black-and-white views of American fire escapes through Jef’s (sash) windows. These, however, are not examples of ‘copying’ or ‘reproduction’, as Tavernier and others would have it, but formal elements that are self-consciously reworked in Melville’s original design.” — Jean-Pierre Melville: An American in Paris

If you had to stand or fall on just one of your films, which one would it be?
John Huston: I can’t name just one. I realize that the honors falling on me now are for the cumulative weight of my work. But I especially like The Maltese Falcon, The Treasure of the Sierra Madre, The Man Who Would Be King, Reflections in a Golden Eye, Fat City, Heaven Knows, Mr. Allison. And I like moments in all my work, whatever the reason I made the picture, including some that I don’t like on the whole. I always shot each scene as if it was the most important scene in the picture and shot every picture as though it was the most important one I ever made.