truffaut was a big fan of welles, hitch, and american films in general. he wrote several books, among them one on hitch, and in his book, FILMS IN MY LIFE, or something like that, he has a welles chapter. he credits MR ARKADIN with starting the french new wave. he championed welles and hitch in france, where he had a voice, but i don't think he was any kind of a force in the US, to help welles in any way. it took 25 years of truffaut, and the french magazines pounding the hitch-as-artist drum before any one here regarded hitch an artist. unfortunately by then hitch had about 2 years left on this earth.
i have not seen many truffaut films i like, but DAY FOR NIGHT is tremendous. the SPINAL TAP of the movie business. watch DAY FOR NIGHT with a group of people who have worked in films, is like watching SPINAL TAP with rock & roll musicians; they will be rolling with laughter because they have at one time or another experienced what they are seeing on that screen.
for me, the scenes that hooked me on the film, are all the choices the director had to make, and the composer calling the director on the phone to play the piece that he just conducted. i was present during such a phone call, and the director said into the phone, "wait, wait," and he put the call through a 1985 quality speaker phone so we could all hear the piece. it sounded scratchy at best. i never realized the ridiculousness of it till i watched truffaut and the producer of the film both appreciatively listening to the new piece over the phone receiver.