While living in New York, Hans Richter directed two feature films, Dreams That Money Can Buy and 8x8: A Chess Sonata in collaboration with Max Ernst, Cocteau, Paul Bowles, Fernand Léger, Alexander Calder, Duchamp, and others, which was partially filmed on the lawn of his summer house in Southbury, Connecticut.
This attracted the attention of Phonogram, who secured the remaining tracks for Cocteau in order to release the full album, Quit Dreaming And Get On The Beam, credited simply to "Bill Nelson", in 1981.
He quickly moved on to other challenges, creating designs for many plays there, including sets and costumes for the Cocteau’s world premiere of Tennessee Williams’ Something Cloudy, Something Clear, and staging a number of productions, notably poet Robert Lowell’s adaptation of The Oresteia of Aeschylus.
Francine Weisweiller and Jean Cocteau became close friends, with Cocteau and some of his entourage living with her in her villa Santo Sospir at Saint-Jean-Cap-Ferrat from 1950 to the early 1960s.
Originally, the picture was larger and showed a tattoo of a Cocteau drawing on his left shoulder, which he had had done in June 1983 because he idolised Cocteau.
L'Aigle à deux têtes (1948) was Cocteau's own film of his play, using the same principal actors from the Paris stage production.
The novel was also the basis of Jean Delannoy's 1961 film of the same title (adapted by Jean Cocteau), Manoel de Oliveira's 1999 film The Letter, and Andrzej Żuławski's 2000 film Fidelity (starring Sophie Marceau).
La Villa Santo-Sospir (1952) is a 35-minute amateur or home film directed by Jean Cocteau in which Cocteau takes the viewer on a tour of Francine Weisweiller's villa on the French coast, a major location later used in his film Testament of Orpheus (1960).
Poulenc met Cocteau early in his career because of Cocteau’s close relationship with Les Six, a group of six French composers of which Poulenc was a member.
Unlike Cocteau's plot, director Alexandre Marine shifted the action to a brothel, with the bawdy house transforming to a "hospital" with the arrival of the policeman.
During this period he met eighteen -year old actress, Josette Day, (later "Belle" in Cocteau's film La Belle et la Bête, ) who became his mistress.
Influenced at his beginnings by Buñuel, Cocteau, the surrealists and by the Japanese cinema (Seijun Suzuki, Ishirō Honda, Kōji Wakamatsu, Yoko Ono), stunned by the Festival of the film expérimental of Knokke in 1967 and by May 1968, Roland Lethem wants to push the people to look at the things of which they say they are freed, it's to say to place them in front of their responsibilities.
Elizabeth Fraser and Robin Guthrie of the Cocteau Twins recorded the intended b-side, a cover of Tim Buckley's "Song to the Siren." Ivo was pleased enough with the results that "Siren" was made the A-side of the 7" release.
Cocteau invited the Vicomte and his wife Marie-Laure de Noailles, along with several of their friends, to appear in a scene as a theatre party.
Today the theatre’s repertoire consists of the world’s drama classics including Anton Chekhov, Nikolai Gogol, Jean Cocteau, Latvian plays by dramatists Rūdolfs Blaumanis, Jānis Rainis, and Agita Dragūna.