Robert Bresson is known as one of the first film makers to really focus on the use of sound. Writings on the subject are many and I will be referencing a series of essays from the book Robert Bresson, edited by James Quandt, as well as Notes on the Cinematographer, by the director himself.
Sound plays a crucial role in Bresson’s movies: ‘I prefer to conjure up the image with the help of a sound, because each time I can replace an image with a sound, I do it. And I am doing it more and more.'[1]
His use of realistic sound has been compared to musique concrete. There is a particular emphasis on the creation of rhythm pattern: ‘The noises must become music.'[2]
‘Rhythmic value of a noise. Noise of a door opening and shutting, noise of footsteps, etc., for the sake of rhythm.’
Bresson’s movies often feature themes of entrapment (A Man Escaped, Mouchette). Here the sound is used in such a way that it helps recreate a feeling of heightened perception.
Robert Bresson is known for his approach to cinematography and his dislike for employing theatre thinking and techniques in cinema. One way of counteracting this is his use on non-actors. As someone interested in the concept of voice for performance, I found his ideas quite interesting.
His ideas on voice in the cinema are articulated in an interview with Jean-Luc Godard I have found in a book titled Robert Bresson, edited by James Quandt.
‘And the voice, moreover! That tone gives an absolutely false voice! But on what is their voice based? And what makes them pretend that they speak rightly? In the name of what they think they can affirm it? When I think that sometimes someone says to me that in my films people speak falsely! Me, I would have people speak falsely! But what makes that person believe that he himself speaks rightly? [1]
For there you have a voice that must agree with feelings which are not your feelings. Are you going to pretend then that your voice is going to be fixed exactly on that and that it is not going to waver? But your speech wavers all the time! There is not a single intonation that is precise!‘ (p.468) [1]
[1] Jean-Luc Godard and Michael Delahaye, ‘Entretien avec Robert Bresson,’ Cahiers du cinema, no.178 (Paris, 1996): p.39
[2] Robert Bresson, Notes on the Cinemtographer