However, Jean-Pierre Melville had already been working in this mode since the ‘40s: his film Silence of the Sea (Melville, 1947) was an adaptation of a novel he had not acquired the rights for, and was shot on a location he had not gained authorisation to shoot on – Melville saw himself as the “inventor of the New Wave”, due to his use of real locations, non-stars, limited equipment and fast film stock (Marie, 2003, 50). So the production traditions of the New Wave of the late ‘50s can be found in the oeuvre of a director working a decade prior to the start of the movement – however, it would take another decade before these filming methods, ones seen as outside of the French cinema system, to catch on (Marie, 2003, 50–51).