well. A 1965 profile compared him to Humphrey Bogart and James Dean. It stated Belmondo was: A later manifestation of youthful rejection... His disengagement from a society his parents made is total. He accepts corruption with a cynical smile, not even bothering to struggle. He is out entirely for himself, to get whatever he can, while he can. The Belmondo type is capable of anything. He knows he is defeated anyway... He represents something tough yet vulnerable, laconic but intense, notably lacking in neuroses or the stumbling insecurities of homus Americanus. He is the man of the moment, completely capable of taking care of himself - and ready to take on the girl of the moment too. Belmondo's own tastes ran to Tintin comics, sports magazines, and detective novels. He said he preferred "making adventure films like Rio to the intellectual movies of Alain Resnais or Alain Robbe-Grillet. But with François Truffaut I'd be willing to try." His fee was said to be between US$150,000-$200,000 per film. Belmondo said he was open to making Hollywood films but he wanted to play an American rather than a Frenchman and was interested in Cary Grant type roles instead of James Dean/Bogart ones. Belmondo made Greed in the Sun (1964) with Lino Ventura for director Henri Verneuil, who said Belmondo was "one of the few young actors in France who is young and manly." Backfire (1964) reunited him with Jean Seberg, his Breathless co-star. After a role in Male Hunt (1964) he played the lead in Weekend at Dunkirk (1965), another big hit in France. Belmondo dominated the French box office for 1964 – That Man from Rio was the fourth most popular movie in the country, Greed in the Sun was seventh, Weekend at Dunkirk ninth, and Backfire 19th. Crime on a Summer Morning (1965) was less successful, though it still performed well on the strength of Belmondo's name. Up to His Ears (1965) was an attempt to repeat the popularity of That Man Rio, from the same director, but did less well. There were Hollywood offers, but Belmondo turned them down. "He won't make films outside of France", said director Mark Robson, who wanted him for Lost Command (1966). "He has scripts stacked up and he doesn't see why he should jeopardise his great success by speaking English instead of French." Belmondo was reunited with Godard for Pierrot le Fou (1965)