His female star is Anne Wiazemsky, writer François Mauriac's granddaughter, sixteen years his junior.

Anne and Jean-Luc have been dating since 1966 and they marry this very year.

Instead, start off with and emphasize your character's personality, ambitions, dreams, ideals, career, and vulnerabilities.

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The cost can be anything - it can be something your character has to give up or pay upfront (whether willingly or not), undesirable consequences, unpleasant responsibilities, a lot of time and effort put into honing the power or talent, or any combination thereof.

It doesn't necessarily have to be huge or dire; just reasonably proportionate.

She admires Jean-Luc's originality, intelligence, wit and boldness while he loves Anne's freshness and - admiration of him. Godard, who is more and more involved in the revolution, indeed becomes less and less available to his young wife, which does not prevent him from acting jealous.

It also looks as if the genius is losing his sense of humor.

At least one OC superhero I've seen had cat ears and a tail, the reason given that her abusive father experimented on her as a teenager. Compare with, for example, the Marvel-verse - if I see a character with an unusual appearance, I can usually trust that there's a character-defining story attached to it somehow - EG, Doc Samson received his green hair in the incident that gave him the powers that changed the course of his life.

Storm has white hair because she is a mutant, a fact which has essentially defined her life since a young teen.

Powers and skills could explain why the characters might interact professionally - but they do not alone explain why two characters would become best friends or lovers.

For that, your characters need to have compatible personalities, proper bonding experiences, and generally have done a lot of things together that don't have anything to do with being superheroes or whatever it is they are.

Jean-Luc Godard, the maker of "A bout de souffle", "Le Mépris" and "Pierrot le fou", idolized by critics and intellectuals, is shifting from revolutionizing cinema to becoming a revolutionary tout court.

Isn't he shooting "La Chinoise", more a political tract in favor of Maoism than an actual movie?

This also unfortunately means that the film concentrates on their time together between their marriage in 1967 and their separation in 1970, when both his gifts as a filmmaker and passion for quality cinema had recently nose-dived; although a there was still enough of the film nerd in him to claim with a straight face - in probably the film's best scene - the legacy of Jerry Lewis more worthwhile than that of Jean Renoir.