Additional Book Information
Series: New York Review Books
Publication Date: November 15, 2016
Bresson on BressonInterviews, 1943–1983
by Robert Bresson, translated from the French by Anna Moschovakis, edited by Mylène Bresson, preface by Pascal Mérigeau
Robert Bresson, the director of such cinematic master-pieces as Pickpocket, A Man Escaped, Mouchette, and L’Argent, was one of the most influential directors in the history of French film, as well as one of the most stubbornly individual: He insisted on the use of nonprofessional actors; he shunned the “advances” of Cinerama and Cinema-Scope (and the work of most of his predecessors and peers); and he minced no words about the damaging influence of capitalism and the studio system on the still-developing—in his view—art of film. Bresson on Bresson collects the most significant interviews that Bresson gave (carefully editing them before they were released) over the course of his forty-year career to reveal both the internal consistency and the consistently exploratory character of his body of work. Successive chapters are dedicated to each of his fourteen films, as well as to the question of literary adaptation, the nature of the sound track, and to Bresson’s one book, the great aphoristic treatise Notes on the Cinematograph. Throughout, his close and careful consideration of his own films and of the art of film is punctuated by such telling mantras as “Sound...invented silence in cinema,” “It’s the film that...gives life to the characters—not the characters that give life to the film,” and (echoing the Bible) “Every idle word shall be counted.” Bresson’s integrity and originality earned him the admiration of younger directors from Jean-Luc Godard and Jacques Rivette to Olivier Assayas. And though Bresson’s movies are marked everywhere by an air of intense deliberation, these interviews show that they were no less inspired by a near-religious belief in the value of intuition, not only that of the creator but that of the audience, which he claims to deeply respect: “It’s always ready to feel before it understands. And that’s how it should be.”robert bresson, translated by Anna Moschovakis
We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films.
Bresson was the only director who knew how to captivate and surprise me. I consider him a unique phenomenon in the world of film.
Bresson’s characters, his movies, and Bresson himself all become icons. . . . Bresson has transcended himself: he is blazed in mosaics in some moss-grown temple.
The power of Bresson’s...films lies in the fact that his purity and fastidiousness are not just an assertion about the resources of the cinema, as much of modern painting is mainly a comment in paint about painting. They are at the same time an idea about life, about what Cocteau called ‘inner style,’ about the most serious way of being human.
To not get Bresson is to not get the idea of motion pictures—it’s to have missed that train the Lumière brothers filmed arriving at Lyon station 110 years ago.
—J. Hoberman, The Village Voice
Cinephiles will delight in reading this book and following Bresson’s thinking as it develops further and makes each interview more compelling than the last.
Robert Bresson’s 13 features over 40 years constitute arguably the most original and brilliant body of work over a long career from a film director in the history of cinema. He is the most idiosyncratic and uncompromising of all major filmmakers.
—Alan Pavelin, Senses of Cinema