A Quote by Robert Bresson
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.
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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.
It's all about creation and surprise. It just needs to be appreciated and watered like flowers. You have to water flowers. These peaks will come again.
When an unbaked pot is broken, the potter can use the mud to make a new one; but when a baked one is broken, he cannot do the same any longer. So when a person dies in a state of ignorance, he is born again; but when he becomes well baked in the fire of true knowledge and dies a perfect man, he is not born again.
The man or woman who is born of God, who is regenerate, simply does not and cannot continue-abide-in a life of sin. They may backslide temporarily, but if they are born of God they will come back. It is as certain as that they have been born again. It is the way to test whether or not someone is born again.
In reality, everything is within; the outer is just a projection. Fear is within you; it is projected as a hell. Hell is just a projected image on the screen - of the fear that is within you, of the anger, of the jealousy, of all that is poisonous in you, of all that is evil in you. Heaven is, again, a projected image on the screen - of all that is good and beautiful, of all that is blissful within you.
I did my first film Junglee and it became a hit. That film was the first one to bring the real colour on the big screen, which was Eastmancolor.
Horror stories have always worked on film. It's where they work. That's where vampires and ghosts and UFOs are real. They're not particularly real in life, but they're real on the screen. It's the communal aspect of movie-watching.
It is when music is added that a film can come to life for a director. A live orchestra, playing the score as a conductor watches the film on a huge screen, often gives a fimmaker the first real glimpse of his soon-to-be-completed work. That's where the magic is.
I was about 10 years old. I just remember the film Enter the Dragon with Bruce Lee blowing my mind on the screen and I thought to myself, "That's what I want to do for a living when I'm older." Bruce Lee was so magnetic and charismatic and held the screen so well. It's just a very powerful performance in that film. That's the first memory I have - him in that movie.
I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.
Giving and receiving are at bottom one thing, dependent on whether one lives open or closed. Living openly one becomes a medium, a transmitter; living thus, as a river, one experiences life to the full, flows along with the current of life, and dies in order to live again as an ocean.
We always for better or worse try to put on paper what's going up on screen - whether we're directing it or not. It's really just an extension of that habit which is trying to tell the reader what the movie will look like. Ultimately that is the job of a screenwriter to a certain extent.
The most fascinating part of movies is the organism of the movie - it's such a bizarre thing to do, to make a movie. To see these people come together, band in unity, to create this thing that almost doesn't exist. It only exists because it's projected on a screen, but other than that, it's an illusion.
The things that scare me are real life situations. Real life is much more scary than anything you can put on the movie screen. Which is why I get very upset when people try to blame the movies for the violence in this world. I'm like 'Are you kidding me?'. There is more violence in a four hour period on CNN than any movie I have in my massive collection.
The Real is ever-present, like the screen on which the cinematographic pictures move. While the picture appears on it, the screen remains invisible. Stop the picture, and the screen will become clear. All thoughts and events are merely pictures moving on the screen of Pure Consciousness, which alone is real.
I'll remember this to my grave. We all walked into a room to see the screen tests. The first screen test was Marion Hutton's. Then came Janis Paige [who ended up with a part in the film]. Then on the screen came Doris Day. I can only tell you, the screen just exploded. There was absolutely no question. A great star was born and the rest is history.
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