robert bresson, given by the eyes of john cage

radically suppress intentions in your models.

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not to use two violins when one is enough.

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no intellectual or cerebral mechanism. simply a mechanism.

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hide the ideas, but so that people find them. the most important
will be the most hidden.

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all those effects you can get from repitition (of an image, of a sound).

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practice the precept: find without seeking.

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to translate the invisible wind by the water it sculpts in passing.

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make visible what, without you, might perhaps never have been seen.

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build your film on white, on silence and on stillness.

cagean notes by robert bresson,
found in his notes on the cinematographer,
green integer 2, 1997 translated by jonathan griffin