Cinematography is a writing with images in mouvement and with sounds.— Robert Bresson
The most perspective Robert Bresson quotes that may be undiscovered and unusual
Cinematography, a military art. Prepare a film like a battle.
In the NUDE, all that is not beautiful is obscene.
My movie is born first in my head, dies on paper;
is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on to a screen, come to life again like flowers in water.
Make visible what, without you, might perhaps never have been seen.
When you do not know what you are doing and what you are doing is the best -- that is inspiration.
When you do not know what you are doing and what you are doing is the best - that is inspiration.
Two types of films: those that employ the resources of the theater (actors, direction, etc...) and use the camera in order to reproduce; those that employ the resources of cinematography and use the camera to create
The future of cinematography belongs to a new race of young solitaries who will shoot films by putting their last penny into it and not let themselves be taken in by the material routines of the trade.
Ten properties of an object, according to Leonardo: light and dark, color and substance, form and position, distance and nearness, movement and stillness.
Cinema, radio, television, magazines are a school of inattention: people look without seeing, listen in without hearing.
To create is not to deform or invent persons and things.
It is to tie new relationships between persons and things which are, and as they are.
The most ordinary word, when put into place, suddenly acquires brilliance.
That is the brilliance with which your images must shine.
Laugh at a bad reputation. Fear a good one that you could not sustain.
An old thing becomes new if you detach it from what usually surrounds it.
The eye solicited alone makes the ear impatient, the ear solicited alone makes the eye impatient. Use these impatiences. Power of the cinematographer who appeals to the two senses in a governable way. Against the tactics of speed, of noise, set tactics of slowness, of silence.
Hostility to art is also hostility to the new, to the unforeseen.
Master Precision. Be a precision instrument myself.
One forgets too easily the difference between a man and his image, and that there is none between the sound of his voice on the screen and in real life.
The true is inimitable, the false untransformable.
Model. Two mobile eyes in a mobile head, itself on a mobile body.
Films can only be made by by-passing the will of those who appear in them, using not what they do, but what they are.
Bring together things that have as yet never been brought together and did not seem predisposed to be so.
Catch instants. Spontaneity, freshness.
Practice the precept: find without seeking
Hide the ideas, but so that people find them. The most important will be the most hidden.
The ear is profound, whereas the eye is frivolous, too easily satisfied.
The ear is active, imaginative, whereas the eye is passive. When you hear a noise at night, instantly you imagine its cause. The sound of a train whistle conjures up the whole station. The eye can perceive only what is presented to it.
The faculty of using my resources well diminishes when their number grows.
Be the first to see what you see as you see it.
A too-expected image (cliché) will never seem right, even if it is.
Ideally, nothing should be shown, but that’s impossible.
Nothing more inelegant and ineffective than an art conceived in another art's form.
For me, film-making is combining images and sounds of real things in an order that makes them effective. What I disapprove of is photographing things that are not real. Sets and actors are not real.
Unbalance so as to re-balance.
A film is born in my head and I kill it on paper.
It is brought back to life by the actors and then killed in the camera. It is then resurrected into a third and final life in the editing room where the dismembered pieces are assembled into their finished form.
The things one can express with the hand, with the head, with the shoulders!.
.. How many useless and encumbering words then disappear! What economy!
Let nothing be changed and all be different.
Provoke the unexpected. Expect it.
It is in its pure form that an art hits hard.
The point is not to direct someone, but to direct oneself.
When a sound can replace an image, cut the image or neutralize it.
The ear goes more towards the within, the eye towards the outer.
Prefer what intuition whispers in your ear to what you have done and redone ten times in your head.