pickpocket au

Filmmaking Wisdom from Robert Bresson

We are still coming to terms with Robert Bresson, and the peculiar power and beauty of his films, says Martin Scorsese who considers Bresson to be one of the cinema’s greatest artists. Another monumental filmmaker, Andrei Tarkovsky, agrees with Bresson’s importance: Robert Bresson is for me an example of a real and genuine filmmaker. He obeys only certain higher, objective laws of Art…Bresson is the only person who remained himself and survived all the pressures brought by fame. Meanwhile, Jean-Luc Godard, who along with his colleagues of The French New Wave was influenced by Bresson, claims, Robert Bresson is French cinema, as Dostoevsky is the Russian novel and Mozart is the German music.

Robert Bresson exemplifies the filmmaker of a simplicity that yields an elegance that then spellbindingly eclipses the traditional codes of film and its unique language: bringing each cinematic element to its essence allows Bresson to show beyond doubt that filmmaking is an art. All of this centers on the power of the filmmaker’s style. Bresson states, Make visible what, without you, might perhaps never have been seen. Filmmakers, follow your unique styles and spark your filmmaking passion with Filmmaking Wisdom from Robert Bresson, an extended and modified list of tips of cinematic goodness presented by A-BitterSweet-Life, and follow it with a viewing of The Road to Bresson, an essential one hour documentary on the master filmmaker. (note: Filmmaking Wisdom from… usually contains 5 filmmaking tips that are then touched upon. For this edition, the 5 tips have expanded to 7 and only the title of each touches on the insight. Why? Bresson’s own words suffice.)

1) Necessity and a Precise Individual Creative Vision Lead to the All-Important Filmmaker’s Style and an Engaging Form of Cinematic Storytelling

“Cinema is the art of showing nothing.” I want to express things with a minimum of means, showing nothing that is not absolutely essential…My style is natural to me. You see, I want to make things so concentrated and so unified that the spectator feels as if he has seen one single moment. I control all speech and gesture so as to produce an object that is indivisible. Because I believe that one moves an audience only through rhythm, concentration, and unity.

2) Envision the Creative Filmmaking Process as a Cycle: Personal Vision Seeks the Emotions of the Audience to Reshape into a Film That Is a Unique yet Universally Emotional Experience

It is the inside that commands. I know that it may seem paradoxical in an art that is all about the outside…Only the conflicts that take place inside the characters give its movement to the film, its real movement…A film is the typical kind of creation that claims a style. It needs an author, a writing…What the director has in sight, is an effect to produce or a series of effects. If he is conscientious, his preliminary work will consist precisely of going back from the effect to the cause. Starting from what he wants to obtain, the emotion of the audience, he looks for the best combinations to create that emotion. It’s a path walked backwards, with choices and rejections, mistakes, interpolations, that fatally leads him to the origin of composition, that is to say the very composition.

3) A Filmmaker Must Ask, “What Do I Want to See, What Is It That Moves Me?” and by Becoming Both Spectator and Creator, One Is Able to Achieve a Film That “Affects”–to Move the Audience Emotionally, Understand What Moves You

Le public, c’est moi. I mean that if I try to represent to myself what the audience will feel, I can not help but to say to myself: The audience, it is I. So, one does not work for an audience. But what one tries to do should be able all the same…For we find, ultimately, the same chances of acceptance by the audience as a painter, for example, but after some time. Thus the other day someone asked me the question, “Do you believe that a single film of yours could affect people?” It can, perhaps, affect some people, but I do not believe that a single painting by Cézanne has made people understand or love Cézanne, has made them feel as Cézanne did. It takes a great many paintings!

4) A Film Ought to Reflect the Style of a Filmmaker without Imposing upon the Audience’s Experience of the Film: The Filmmaker Creates More than a Film, He or She Creates a Relationship between the Spectator and the Film

You must leave the spectator free. And at the same time you must make yourself loved by him. You must make him love the way in which you render things. That is to say: show him things in the order and the way that you love to see them and to feel them; make him feel them, in presenting them to him, as you see them and feel them yourself, and this while leaving him a great freedom, while making him free.

5) The Relationship between Spectator and Film Brings Forth the Cinematic Experience: The Filmmaker Should Allow the Viewer’s Imagination and Emotions Take Part in the Film’s Storytelling–Discovering the Story Is More Powerful than Simply Receiving It

The difficulty is that all art is both abstract and suggestive at the same time. You can’t show everything. If you do, it’s no longer art. Art lies in suggestion. The great difficulty for filmmakers is precisely not to show things. Ideally, nothing should be shown, but that’s impossible. So things must be shown from one sole angle that evokes all other angles without showing them. We must let the viewer gradually imagine, hope to imagine, and keep them in a constant state of anticipation…We must let the mystery remain. Life is mysterious, and we should see that on-screen.

6) All Filmmaking Choices Center on What Is Necessary for the Film and Its Engagement with the Audience: It Is the Film That Shines on the Screen, It Is the Experience of the Film That Is Felt–with Time, the Filmmaker May Become Memorable

To me cinema is the art of having each thing in its place. In this it resembles all the other arts. Like the anecdote about Johann Sebastian Bach playing for a student, the student gushes with admiration, but Bach says, “There’s nothing to admire. You just have to hit the note at the right time, and the organ does the rest.”

7) Filmmaking Is in of Itself a Life’s Journey: Cherish the Opportunity, Immerse Yourself in Each Stage, and Embrace the Poetry Behind the Making of a Film

My film is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on a screen, come to life again like flowers in water.

My film is born first in my head, dies on paper; is resuscitated by the living persons and real objects I use, which are killed on film but, placed in a certain order and projected on a screen, come to life again like flowers in water.

Robert Bresson

I’d like to have a studio full of young filmmakers with something to say. You know what Degas said, “When you know nothing, life is easy.” In other words, the sooner one knows, the better. But when you start shooting, it is important to forget everything you know, make yourself empty and naked before your will. Cézanne used to say, “I paint, I work. I am free of thought."…The strength of an art is in its purity.

Robert Bresson

Seokjin has this down to an art. Bat his eyelashes at unsuspecting victims, distract them with a touch on their arm and step close enough for the other to focus more on his subtle cologne than the hand slipping into a pocket or purse, searching for a wallet. Sometimes, though, it’ll take a little more than that. Like with this musician he met at a cafe - Yoongi, he’d introduced himself as. (Seokjin had given the alias he always uses, Jinyoung; it never hurts to be too cautious.)

Seokjin already has one of Yoongi’s hands in his own, describing something or other to hold Yoongi’s attention. Yoongi’s other hand, though, rests high on his thigh, right over what must be his wallet. So Seokjin takes drastic measures. He leans in, raising Yoongi’s hand to graze his lips over the musician’s knuckles. Yoongi flushes and Seokjin takes it as a good sign, grinning as he entwines their fingers.

“You’re really amazing,” Seokjin muses, and if they had met under different circumstances, he would have actually meant it. The comment doesn’t seem to have the right effect though; Yoongi’s hand grips his thigh tighter. Seokjin quickly mentally prepares himself for the risk he’s about to take, knowing this could either go perfectly or end in chaos (but that’s why he does this in the first place, right?). Seokjin shifts closer, watching as Yoongi’s eyes widen at the shrinking space between them. Seokjin smirks and closes the gap with a press of lips, resting his free hand on Yoongi’s hip to determine the best time to grab his wallet.

It takes several moments for Yoongi to respond to the kiss, to press back with equal vigor and more so when Seokjin swipes his tongue along the part of his lips. Yoongi lets out a soft whimper and Seokjin takes the opportunity to shift even closer, tilt his head and run his tongue along the back of Yoongi’s teeth. That’s when Seokjin feels the accomplishment swell in his chest. Yoongi’s other hand moves, running up his arm to rest on his neck, to pull him a bit closer. Seokjin tries his hardest not to grin; this is the easy part now.

His other hand, untangled from Yoongi’s, grips the musician’s nape, holding him in case something happens. Luckily, Seokjin is able to quickly pull out the other’s wallet and place it in an inner pocket of his own jacket. He rests his hand back on Yoongi’s hip, applying pressure slowly to give the illusion of it always being there. And really, Seokjin could just break the kiss right now and leave, disappearing from Yoongi’s life forever, but he stays for a moment longer, reveling in the way Yoongi sucks on his bottom lip, giving it a small tug before kissing him again.

Seokjin knows when he has to stop. He holds both of Yoongi’s hands in his, faces still close as they just breathe each other in, Yoongi eyeing Seokjin’s swollen lips. Seokjin pulls away slightly to dig inside a pocket, pulling out a business card he made on a whim, his burner phone’s number printed on it. He hands it to Yoongi, and with one last kiss, stands up and walks away.

Seokjin rounds the corner he saw Yoongi come from when he first saw him and flips through Yoongi’s wallet, pulling out all of the cash and taking a giftcard. He’s learned the hard way that credit cards are harder to steal, and Seokjin hasn’t perfected that yet. He gives the plain leather wallet a onceover before folding it again and laying it on the ground, as if Yoongi had dropped it. Seokjin’s burner phone rings from a text from Yoongi and he grins. This will be fun.

From [Unknown Number]: If you wanted my wallet, you could’ve asked, though I definitely have nothing against that kiss. So, Seokjin, how about dinner tomorrow night? I’m assuming you will be paying.

anonymous asked:

Do you know of any fics (of any ship or no real ship) where the members are runaways, or anything similar?

- the lost boys club series by jflawless ; ot7, homeless kids au
- marrow by ocelot ; sugakookie
- a thief for your heart by fiathe; ot7, yoonmin, pickpocket au
たすけて. by mintaehyung ; taegi
- testament of youth by sugamins ; ot7, i need u au, vhope and yoonmin

- admin nissi

*CRACKS KNUCKLES*  OK SO toudoukis ASKED FOR SOME HELP MAKING TOUMAKI AU’S BUT IN THE PROCESS I CA,E UP WITH A FEW OTHER PAIRS SO HERE WE GO

i plan to draw a few of these so i guess i’ll cross them out as a go along lol

Toumaki

  • siren au (siren toudou, pirate maki)
  • met on omegal au
  • dog walkers au
  • met on the internet friends au (toudou living in japan and maki in england)
  • backpacking across europe (toudou visits maki in london and drags him along lol)
  • Couple were both parties speak a different language from each other (toudou japanese, maki english)
  • met at the airport while stuck waiting for a delayed flight au
  • restaurant au (makishima is a waiter and toudou is a regular)

Shinara

  • pickpocket au
  • hospital au (nurse or doctor! shinkai, patient! arakita)
  • au where shinkai works in a pet store and arakita works in the bike shop next door and they will regularly pop into each other’s shops
  • bookstore au (arakita studies in the cafe area but will stumble upon shinkai sitting in one of the aisle ways reading something new every day)

Fukukin

  • HIGH SCHOOL TEACHERS AU HUEHUHEHUE
  • lifeguard au
  • hockey players au (captains of rivaling teams. p much the same thing as yowapeda EXCEPT HOCKEY…)

Aratou

  • “oh no we somehow just happened to be locked in a closet together” (ΦωΦ)
  • platonic roommates au
  • “the only one who offered to help me move” au (toudou helping arakita. arakita tricked him and said there was gonna be more people here haha)
  • Beauty & the Beast/ Little Red Riding hood au
  • Delivery boy au
  • FLIGHT ATTENDANTS AU….. (and yes i mean the whole skirts and scarves and making out in the bathrooms kind of set up this is me that we’re talking abour here)