Robert Bresson interview 1984 - subs: English & русский

[@deino1121]

this was nearly the same interview he's given many other times, almost all of them translated on youtube, it's no wonder that he left!

[@remynoel5506]

Un grand M. Bresson !

[@MikelGCinema]

These kids were absolutely clueless, just like the other "journalistes" at Cannes. Just angry, miserable beings...and every time, Bresson puts them in their place. Le plus grand cinéaste Français de tout les temps...

[@vikasinema6823]

Somebody please translate this! Thankyou in advance!

[@iacatherinoslav1314]

- Mr Bresson, from your movies we perceive the existence of a moral, a dark and pessimist moral, that becomes even darker as your movies evolve. We feel like there is a contradiction between this pessimism and the beauty. - First, you get the word "pessimism" mixed up with the word "lucidity". "La morale" (moral in the sense of spiritual and moral behavior) is something wider. I do not come up with a dark "morale". Is Greek tragedy a pessimism? - About lucidity... - I feel more being rational than a pessimist. I don't know the future, I simply observe. I can't anymore focus on topics out of our time. I can't do other than staying in my time. I see huge threats all over the world, and it's better to be rational, not being necessarily pessimistic. - You don't consider yourself pessimistic? - The alliance of the search of beauty and of a certain lucidity is possible. The two things do not conflict at all. I don't see any contradiction. Beauty in cinematograph must be NEW. If the cinematograph becomes an art, as any art has its own beauty, then... You must take advantage of two wonderful device, which are the camera and the tape recorder, especially of their association to "write on the screen". It must be new, as our device are new "falling from heaven". We must use them as new to create the new/the novelty. And the novelty must be beauty. - Did you change your vision over time? - I hope I have evolved. This last movie has something new for me: a dedication to get things condensed and fast and new and a great freedom/spontaneity. I do because I feel. Alas! if it's not good. Bravo! if it is. Unfortunately, there are fans of cinema, cinema that French people call cine and which is a snap of theater. For this reason they want to watch the full body and not our hands, our faces, our elbows, our legs. When I cross a boulevard, I see legs walking. They miss the beauty of introducing the character that arrives among the legs, who was himself just a pair of legs before, and suddenly sit in front of the camera. They don't feel, they wait for a dialogue that would all explain. But there isn't. Only the image with the sound can explain. - Can the fans understand this? - They can't. They are given to watch all the day movies like snapshots of a spectacle. They look for the actors, their attitudes, their ton of voice, their success... If there are no acting or actors, they see nothingness. Cinema must evolve away from this state and becomes vast. - Any advice for young directors? - No. I shall finish with this sentence of Stendhal: "the other arts taught me the art of writing".

[@mOn0strOh]

@@iacatherinoslav1314 Thank you man!!

[@lzichon]

You can now watch the interview (from 2:44) with the English subtitles. Thanks to JB Monteil.

[@Alix777.]

Do you think that Galina Ustvolskaya and Robert Bresson share something in common in their art ?

[@lzichon]

They are the best, all the other words are not for this space.

[@karnamakash1370]

En cycle odachitye kumare

[@karnamakash1370]

Tha

[@brettvalerybrett730]

..

[@inco9943]

terrible interviewer, no wonder Mr Bresson got tired of it