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If you come to expect the action, well, you're not going to get it.
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[Schrader] Transcendental style is, essentially, withholding the device.
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You're going to hold on shots too long; you're not going to cut.
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You're creating dead time.
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What happens during dead time,
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when you are instructed to watch nothing?
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Now, in real life, you don't watch dead time.
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De Sica, in UMBERTO D. — [there's that] famous shot of the maid striking the match three times.
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It was no longer about the activity of striking a match.
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It was about how long you're going to sit and watch.
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The filmmaker is using the power of cinema itself — against itself —
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to get you into a sense that you have to participate.
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Most movies lean towards you.
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They lean towards you aggressively with their hands around your throat,
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trying to grab every second of your attention.
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[Schrader] These type of films lean away from you,
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and they use time and — as other people would call it — boredom as a technique.
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Eventually, if you're smart enough on how you use these techniques,
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now you're doing something really rare: you're activating the viewer.
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And once a viewer starts to move
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on his own, it's so much more powerful.
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[Schrader] When you use boredom as an aesthetic device,
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when is it effective, and when is it simply boredom?
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If you consistently withhold, and now the viewer is leaning towards you,
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now you have to think, in a certain moment, "freedom."
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You know, do something unexpected.
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In IDA, it's the tracking shot at the end, you know.
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In Bresson, it's just a burst of music. You know, you show a movie
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for an hour and a half, two hours, with no music at all,
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and all of a sudden, at the end, boom! A big blast of Mozart.
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What are you going to do with something that aggressive?
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And the trick of someone who can use transcendental style
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is it suddenly frees them.
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[Soundtrack crescendo: Mozart's "Great Mass in C Minor - Kyrie"]
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So, like the characters in Ozu's films — [they] never show any emotion
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and, all of a sudden, at the end — wham-o! — comes a big blast of emotion!
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What are you going to do with it,
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now that he has totally conditioned you not to expect it?
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Is it going to put you off, or is it going to knock you up a notch?
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That's the idea of decisive action.
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And, once you get that action, and then... then after that,
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silence.