Breathless (1960). According to Jonathan Rosenbaum, Godard was also directly influenced by Jean-Daniel Pollet and Volker Schlöndorff's Méditerranée, released earlier the same year. Godard admitted his tendency to get actors to improvise dialogue "during the peak moment of creation" often baffled them. "They often feel useless," he said. "Yet they bring me a lot... I need them, just as I need the pulse and colours of real settings for atmosphere and creation." Critical reception On the review aggregator website Rotten Tomatoes, the film has an approval rating of 91% based on 58 reviews, with an average score of 8.6/10. The site's critical consensus reads: "This powerful work of essential cinema joins 'meta' with 'physique,' casting Brigitte Bardot and director Godard's inspiration Fritz Lang." Sight & Sound critic Colin MacCabe referred to Contempt as "the greatest work of art produced in postwar Europe." Bosley Crowther of The New York Times called the film "luxuriant" but wrote that Godard "could put his talents to more intelligent and illuminating use"; according to Crowther, who is unclear about the motivations of the main characters, "Mr. Godard has attempted to make this film communicate a sense of the alienation of individuals in this complex modern world. And he has clearly directed to get a tempo that suggests irritation and ennui." Legacy French journalist Antoine de Gaudemar made a one-hour documentary in 2009 about Contempt, Il était une fois... Le Mépris (A Film and Its Era: Contempt) using footage from Jacques Rozier's earlier documentaries Paparazzi (1963), Le Parti des Choses (1964), and André S. Labarthe's Le dinosaure et le bébé (1967). In 2012, Godard's film ranked 21st on critic's poll and 44th on director's poll in Sight & Sound magazine's 100 greatest films of all time list. The extended apartment sequence that occurs in the film, where Paul and Camille's marriage unravels, has been praised by critics and scholars. In February 2012, Interiors, an online journal that is concerned with the relationship between architecture and film, released an issue that discussed how space is used in this scene. The issue highlights how Jean-Luc Godard uses this constricted space to explore Paul and Camille's declining relationship. The song "Theme de Camille", which was originally composed for Contempt, is used as a main theme in the 1995 film Casino. A still from the film was used as the official poster for the 2016 Cannes Film Festival. In 2018