From Bresson’s Notes on the Cinematographer:
I have dreamed of my film making itself as it goes along under my gaze, like a painter’s eternally fresh canvas.
It is from being constrained to a mechanical regularity, it is from a mechanism that emotion will be born. To understand this, think of certain great pianists.
A great non-virtuoso pianist, of the Lipatti kind, strikes notes that are rigorously equal: minims, each the same length, same intensity; quavers, semi-quavers, etc., likewise. He does not slap emotion on to the keys. He waits for it. It comes and fills his fingers, the piano, him, the audience.
Oscars to actors whose body, face and voice do not seem to be theirs, do not produce any certainty that they belong to them.
It is what I do not get to know of F and G (models) that makes them so interesting to me.
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