A Quote by Robert Bresson
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.
Related Quotes
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.
Imagining may be the first step in making it happen, but it takes the real time and real efforts of real people to learn things, make things, turn thoughts into deeds or visions into inventions.
I'm continuously playing this game of what's real and what's not real, and having to balance and judge and realize that there are things that carry real weight in the world and actually have power in them. And there are things that are just pointless, and you don't have to pay attention to those things.
If there can be a better way for the real world to include the one of images, it will require an ecology not only of real things but of images as well.
My life is good because I am not passive about it. I invest in what is real. Like real people, to do real things, for the real me.
No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things
Where the real world changes into simple images, the simple images become real beings and effective motivations of hypnotic behavior.
When you're working on a film, it's almost like photographing paintings at a museum. You're photographing somebody else's world. I just try and interpret it and make it real, and make it what the actors are about, what the director is about, and what the film is about.
In Bollywood, we are told exactly what to do and how to do it and not to counter things by saying there's a better way. We make our actors feel important by paying them more. But the real deal is when you let the actors take some decisions on the sets.
Soft things are terrifying. They're the real signals of death. Images of strength can never be that terrifying. It's the images of weakness that are a real apocalypse.
My own personal aesthetic is all to do with real actors and real locations and a kind of almost hyper reality and actuality to things. But the digital world, I explore that through other mediums, with music videos and commercials. Even 'The Road' was a real learning curve for me with digital effects.
People say to me, ‘How do I know if a word is real?’ You know, anybody who’s read a children’s book knows that love makes things real. If you love a word, use it. That makes it real.
Twitter fascinates me because it's real. It feels kind of unreal, but it makes very real things happen.
When I wrote my fictional novels, they always had a starting point of something real. Those images that are not real are exactly the same strength and power of the real ones, and the line between them is completely blurred.
I try to watch only real things, which basically amounts to C-Span for me. I like real people in real situations. I learn from that.
If you want to be a real human being - a real woman, a real man - you cannot tolerate things which put you to indignation, to outrage. You must stand up. I always say to people, 'Look around; look at what makes you unhappy, what makes you furious, and then engage yourself in some action.'
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