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  • If you come to expect the action, well, you're not going to get it.

  • [Schrader] Transcendental style is, essentially, withholding the device.

  • You're going to hold on shots too long; you're not going to cut.

  • You're creating dead time.

  • What happens during dead time,

  • when you are instructed to watch nothing?

  • Now, in real life, you don't watch dead time.

  • De Sica, in UMBERTO D. — [there's that] famous shot of the maid striking the match three times.

  • It was no longer about the activity of striking a match.

  • It was about how long you're going to sit and watch.

  • The filmmaker is using the power of cinema itselfagainst itself

  • to get you into a sense that you have to participate.

  • Most movies lean towards you.

  • They lean towards you aggressively with their hands around your throat,

  • trying to grab every second of your attention.

  • [Schrader] These type of films lean away from you,

  • and they use time andas other people would call itboredom as a technique.

  • Eventually, if you're smart enough on how you use these techniques,

  • now you're doing something really rare: you're activating the viewer.

  • And once a viewer starts to move

  • on his own, it's so much more powerful.

  • [Schrader] When you use boredom as an aesthetic device,

  • when is it effective, and when is it simply boredom?

  • If you consistently withhold, and now the viewer is leaning towards you,

  • now you have to think, in a certain moment, "freedom."

  • You know, do something unexpected.

  • In IDA, it's the tracking shot at the end, you know.

  • In Bresson, it's just a burst of music. You know, you show a movie

  • for an hour and a half, two hours, with no music at all,

  • and all of a sudden, at the end, boom! A big blast of Mozart.

  • What are you going to do with something that aggressive?

  • And the trick of someone who can use transcendental style

  • is it suddenly frees them.

  • [Soundtrack crescendo: Mozart's "Great Mass in C Minor - Kyrie"]

  • So, like the characters in Ozu's films — [they] never show any emotion

  • and, all of a sudden, at the endwham-o! — comes a big blast of emotion!

  • What are you going to do with it,

  • now that he has totally conditioned you not to expect it?

  • Is it going to put you off, or is it going to knock you up a notch?

  • That's the idea of decisive action.

  • And, once you get that action, and then... then after that,

  • silence.

If you come to expect the action, well, you're not going to get it.

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