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Poznámky o kinematografu Robert Bresson

Poznámky o kinematografu

Robert Bresson

Published 1998
ISBN :
Paperback
116 pages
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 About the Book 

Robert Bresson Notes on the Cinematographer is my philosophy book or self-help book for putting things together in what I feel, or need, to be real in stories, images, moments. Im sure its one hell of a book for creative people. I dont make things so much as try to get by and live better by living elsewhere (as in outside of me). Im not the right person to ask about that... Anyway, Id assimilate this instead of The Little Book of Calm (as seen on the brilliant Black Books series when Manny accidentally ingests that ridiculous book and starts spouting out advice from it. Pretend youre an orange and laugh at it. I love that show. Id love to live in that book shop with Manny and Bernard). These are notes that Bresson jotted down to himself, pretty much. Like someone elses train of thought that would cross stations with what I think about a lot. (One thing I am not is a clear thinker.) I hope for inspiration from someone so inspired. I feel inspired watching his films. (Unfortunately, I think like pulling from the toppermost of my mental soils, seldom going down to the roots or allowing for future harvests. As in, speaking out of my ass. Got plenty of fiber, at least.)Between them and me: telepathic exchanges, divination.This is one of the reasons why I watch so many movies. Its also why I have such a bad staring problem. Im probably hoping for something... I wanna feel affirmed, probably. Find some kind of beauty. At least something not cold. (*Note I probably dont understand a fraction of most things. Im probably like Good Charlotte when they name their brilliant beyond brilliant influences. Like they havent ever listened to themselves! The least fat of the two did get Hilary Duff into The Smiths. Maybe when the fattest one is tired of Nicole Ritchie beating up on him he could tell me about all that Im missing!) (Whats this? A mysterious note in the margins of my book for me to get some self-esteem.)Cinematography is writing with images in movement and with sounds.I love that. I so agree! I liked what he said about it working when the models (Bresson doesnt call his actors actors) and it works out right when they get his secret wishes. This is something Ive thought about from time to time, whether all the other people involved in films (not just screenwriter and director. How come Charlie Kaufman is one of the only screenwriters given credit? Its like people really think that all these directors came on these scripts out of nowhere!) are also writers. I love this wavelength, secret desires idea of Bressons. Maybe it really is like that. How neat. Others become arms to reach...Respect mans nature without wishing it was more palpable than it is.I try to remember this one. Communication is really hard for me. I try and remember that the flavor of other peoples feelings arent always going to be that strong for me to pick up. (Or palatable.)A system does not regulate everything. It is a bait for something.An unsoul crushingly way to look at that. I need to have some sort of organization up there (thumping my noggin right now).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.Hm.Doing the same action twenty times in rehearsals will lead to doing them without thinking about them. Thats not a direct quote. He says stuff about that a lot. John Frusciante made six records in 2004. After spending lots of efforts on different takes to get everything as perfect as can be he decided to try just one take for his singing. (People could sing his er tune now, what with the surge of auto-tune...) Does it kill spontaneity? I liked that idea of it coming about again just by getting used to it and no longer thinking about what you are doing.(It is going to get tiresome to keep quoting so much...)Im not sure if I agree with Bresson on true and false, or on music.In a mixture of true and false, the true brings out the false, the false hinders belief in the true. An actor simulating fear of shipwreck on the deck of a real ship battered by a real storm - we believe neither in the actor, nor in the storm.There could be something wrong with my brain wiring. I believe that something can be both true and false. I find it difficult to believe that any thing is all true or all false, if it is emotions. I tend to act more upset when things arent that bad than I do when things are really, really bad. You cant always tell on the surface. I like to look for little signs, read between the lines...Bresson wrote that there should be no music at all, unless instruments seen in the film. Lars Von Trier and his cronies based their Dogme95 theories on an essay by Bressons fellow Frenchie Truffaut. I guess Bresson would have seen eye to eye with them on the music, at least. Pretty useless restrictions, I thought (what did any of it have to do with telling a good story?). (I really liked Rosetta, even if it wasnt officially dogme, and love Breaking the Waves.) I think its a case by case thing. Some might rely on what comes from elsewhere (cool soundtracks). Its just that I think most of us make our own life soundtracks of what we hear that it becomes a part of us, and not slipping off elsewhere. (I wanna go elsewhere.) Music. It isolates your film from the life of your film (music delectation). It is a powerful modifier and even destroyer of the real, like alcohol or dope. Oops.Two types of film: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce- those that employ the resources of cinematography to create.Id never been able to put into words the difference between theatre and cinema. (Usually what I read/hear from others is against cinema and in favor of theatre.)I see it like real life versus stories. Memories versus stories. Perspectives versus reality. The closest we can get to seeing how something really happened, not just how we colored it. The closest well ever get to seeing in someone elses brains. I love actors (ahem or models) cause even though they cant totally be someone else, it is still like that Robert Bresson secret desires catching on. Of someone else. Even if they arent real. I dont care if they are playing someone real or fake. I wanna know those secret wishes too.Dont run after poetry. It penetrates unaided through the joins (ellipses).I just thought this one was awesome.A sound must never come to the rescue of an image, nor an image to the rescue of a sound.Avoid paroxysms (anger, terror, etc.) which one is obliged to simulate, and which everybody is alike.Thats what makes the best writing (in any medium) for me. That something that is wholly another, even if it is alike. The different edges of those things are what I look for. Right-on!From the beings and things of nature, washed clean of all art and especially the art of drama, you will make an art.Your genius is not in the counterfeiting of nature (actors, sets), but in your way of choosing and co-coordinating bits taken directly from it by machines.I want those parts.To communicate impressions, sensations.Agony of making sure not to let slip any part of what I merely glimpse, of what I perhaps do not yet see and shall only later be able to see.Displaying everything condemns cinema to cliche, obliges it to display things as everyone is in the habit of seeing them. Failing which, they would appear false or sham.The real is not dramatic. Drama will be born of a certain march of non-dramatic elements.Yes! The BIG moments in life are usually hand in hand with the most dull. Any constant fear can become sameness boring. Any Oprah memoirist might be jealous of fodder from my family history, but it is really same old.Your film is not made for a stroll with eyes, but for going right into, for being totally absorbed in.The crude real will not by itself yield truth.And thats where the writing comes in. And the acting and the pretending and the making stuff out of everything and out of nothing. Thats what I live for, probably...The most ordinary word, when put in its place, suddenly acquires brilliance. That is the brilliance with which your images must shine.What he said.I wish that I could speak French. This book is probably even better. (Not to mention Serge Gainsbourg would be like sex after just masturbating.)Truth and lies arent things I really grasp in my hands. Its more like a taste on the tongue. Ive gotta do it myself to get it sometimes. Try on how someone says something to me, repeat it for between the lines stuff, if they are making fun of me or not. (My favorite actresses are the ones who remind me of those Ive known best in my life. I can recognize and get into the patterns. Thats why Samantha Morton and Liv Ullmann types are my favorites.)