"Bresson is a rarity among filmmakers: he apparently knows exactly what he does and why he does it... any study of Bresson must take into account his astute self-criticism."
- Paul Schrader, Transcendental Style In Film
"A MAN ESCAPED would seem of all Bresson's films the most plot-oriented; it is about a prison break. But the title dispenses with any possibility of suspense - UN CONDAMNE A MORT S'EST ECHAPPE (a man condemned to death has escaped)."
- Paul Schrader, ibid.
“‘Fear Eats the Soul’... there’s more truth in that title than most whole films.”
- Jennie (Naomie Harris) in TRISTRAM SHANDY: A COCK AND BULL STORY
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Last year, I participated in The Skuriels, a joint effort between the Skandies and Muriels to come up with the twenty greatest films ever made (released in conjunction with Sight and Sound's decennial list). When considering my own ballot, my "short list" of around 150 films was weighed heavily toward certain directors: Scorsese, Lynch, Hitchcock, Welles, Tourneur, Dreyer, etc. etc. Of all the repeat filmmakers, Robert Bresson probably had the most impressive track record; six of the eight films of his I'd seen were contenders for my top ten.