Over the course of his career, but mainly in a period from 1950-59, French director Robert Bresson kept a notebook of advice to himself on keeping his very distinct filmmaking technique. In 1975, he published Notes to the Cinematographer, which was then translated and published in the United States two years later. In 2011, a Sight & Sound poll of 51 critics named it the second best book on filmmaking. On this episode, I’m joined by editor Keith Fraase, as we discuss:
differences between Bresson’s grander definition of “cinematographer” than its modern usage;
how its dogmatic, ascetic koans appeals to younger filmmakers;
but often leaves many film lovers cold on Bresson’s filmmaking.
And:
Keith’s love of Bresson’s precision of intent;
the value of the book as advice for other filmmakers versus advice for Bresson himself;
the surprising amount of emphasis he puts on sound work versus acting or editing.
Keith Fraase has edited such narratives features as To the Wonder, Knight of Cups, Song to Song, Chappaquiddick, and A Mouthful of Air, along with the documentaries Voyage of Time and Long Strange Trip. His most recent edited film, Celine Song’s Past Lives, is one of the most critically acclaimed films of 2023.
Robert Bresson’s Notes on the Cinematographer is currently published in the U.S. by New York Review Book (under the translated title Notes on the Cinematograph).