Analysis of information sources in references of the Wikipedia article "Robert Bresson" in English language version.
Like Godard, Fassbinder flaunted his influences through homage and citation – to Jean-Pierre Melville, Bertolt Brecht and Godard in his early crime films, to Bresson and Andrei Tarkovsky in The Third Generation (1979), to many American directors throughout his career.
Interviewer: "Béla Tarr, is your work influenced by other filmmakers?" Béla Tarr: "I remember some movies from my young years, it was the time when I saw many movies. Now I have no time, and I don't like to go and watch movies as I used to. But people like Robert Bresson, Ozu. I like some Fassbinder movies very much. Cassavettes. Hungarian films too."
Kiarostami's greatest cinematic inspiration, Robert Bresson, was also convinced that the importance of the image is in its relationship to what comes before and after.
Resnais is a shy, rather nerv- ... eclectic. He admires Bresson tremendously,
"We watched 'Au Hasard Balthazar' last night and loved it", Anderson told The Criterion Collection when naming his favorite films in the library. "You hate to see that poor donkey die. He takes a beating and presses on, and your heart goes out to him". Directed by Robert Bresson, the 1966 French drama follows a donkey and his various owners over the years. Anderson says he is also a fan of Bresson's "terrific" companion film "Mouchette", released in 1967.
"We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films", Martin Scorsese said in the 2010 book "A Passion For Film", describing the often overlooked French filmmaker as "one of the cinema's greatest artists".
Ingmar Bergman: "Jag är också oerhört förtjust i En prästmans dagbok, som är ett av de märkligaste verk som någonsin gjordes. Nattvardsgästerna är ganska influerad av den."
Resnais is a shy, rather nerv- ... eclectic. He admires Bresson tremendously,
Herzog: "...Robert Bresson's Pickpocket. This is phenomenal; it just make me ache. So intense and so beautiful… It makes you ache, it's so beautiful. And we also watched his Au hasard Balthazar about the donkey Balthazar. It's an incredible film."
"The Child," a Belgian film directed by Jean-Pierre Dardenne and Luc Dardenne, won the Palme d'Or as best film at the 58th Cannes Film Festival on Saturday night. The film, which follows a young petty thief as he struggles with the moral dilemmas of fatherhood, was inspired by Dostoyevsky's "Crime and Punishment" and influenced by the classic French film "Pickpocket," by Robert Bresson.
John Simon: "What about Bresson? How do you feel about him?" Ingmar Bergman: "Oh, Mouchette! I loved it, I loved it! But Balthazar was so boring, I slept through it." John Simon: "I liked Les Dames du Bois de Boulogne and A Man Escaped, but I would say The Diary of a Country Priest is the best one." Ingmar Bergman: "I have seen it four or five times and could see it again... and Mouchette... really..."
Benny Safdie: "Then the second one – and let's say, this was in no particular order – but A Man Escaped, the [Robert] Bresson movie. That has to be my favorite movie of all time, just because it always makes me cry at the end, because I feel like I've achieved something that the character achieves. And it tells you what happens in the title, and it makes it no less suspenseful the entire way. You're literally feeling the sound of the gravel as he puts his foot down – those shots of the foot or the spoon going into the slot. All of these things, the editing of it, the character, the way he's using these actors who you don't really know, they just – you feel like they're real people. It's just so perfectly put together, and it's something where I kind of feel like I'm going along with the escape in a way that's just done by a master. In a weird way, I feel like Bresson is the Fontaine character in that movie. But what's weird is I've watched it again recently, and I had a totally different feeling of it, where it was more about society and how people are talking to each other. And then you realize Bresson is just kind of making the same movie every time, just with different [settings and characters]. One's World War II, one's Lancelot."
The next day he gave a press conference, talking about the personal importance of Bresson's book Notes on the Cinematographer for him...
"I spent a lot of time reviewing the silent films for crowd scenes –the way extras move, evolve, how the space is staged and how the cameras capture it, the views used", Nolan tells Premiere Magazine. The director revealed that he brushed up on silent films such as Intolerance, Sunrise: A Song of Two Humans, and Greed, as well as the films of Robert Bresson (notably Pickpocket and A Man Escaped, to dissect the process of creating suspense through details), Wages of Fear, and, of course, Saving Private Ryan.
Contemporaries such as Andrei Tarkovsky, Jean Cocteau and Marguerite Duras and the critic-filmmakers of the French New Wave held him in very high regard.
Ingmar Bergman: "Jag är också oerhört förtjust i En prästmans dagbok, som är ett av de märkligaste verk som någonsin gjordes. Nattvardsgästerna är ganska influerad av den."
Contemporaries such as Andrei Tarkovsky, Jean Cocteau and Marguerite Duras and the critic-filmmakers of the French New Wave held him in very high regard.
Das Kino des Deutschen Filmmuseums ehrt Wim Wenders im Oktober 2018 mit einer Carte Blanche. Einen Monat lang präsentiert der Regisseur jene Werke aus der Filmgeschichte, die ihn besonders geprägt und beeinflusst haben.
