I really don't understand - need a certain literary literacy

I just finished watching "Death Rider Escape" and felt that I was a step closer to the master. This film made me dizzy again. After watching the behind-the-scenes tidbits, I realized that the reviewer pointed out that watching this film, the story of King Arthur's Knights of the Round Table looking for the Holy Grail It is necessary to have an understanding, because Bresson did not describe this incident in a positive way. It is estimated that audiences who do not have a deep understanding of Western religions do not even know what the plot is, let alone what the film is trying to tell, but Those who are familiar with Bresson's works can still feel his unique charm from the processing of pictures and sounds.
"Pay attention to the meaningless details (not the meaningful parts)", every time I read one of his works, I can feel a description of a unique perspective on life and human nature.

The following is an interview record: You still don't understand after reading it! :) INTERVIEWER: What was your purpose in choosing this subject?
Bresson: Telling a myth that belongs to us, and the situation where the warriors did not take the Holy Grail and returned to Arthur's Castle. The Holy Grail, so to speak, is the absolute, the symbol of God.
Interviewer: The Holy Grail, the symbol of Christianity...
Bresson: Yes, there have been stories of the Holy Grail in Celtic heresy. Strangely, though, there are such stories in the 12th-century Le Chevalier à la Charrette (Le Chevalier à la Charrette) and earlier Greek myths about Orpheus and Eurydice.
INTERVIEWER: I know it's annoying to ask you to talk about your work. But I still hope you can talk about what you want to express in "Warrior Lansinoh"?
Bresson: (silence)
INTERVIEWER: What is the film trying to convey?
Bresson: I don't know either.
Interviewer: Is it a big production?
Bresson: There are horses, warriors in armor, tourneys...and as much anachronistic as possible.
Interviewer: The times are reversed?
Bresson: To convince the audience, we must move the past to the present.
INTERVIEWER: Are medieval sets you built yourself expensive?
Bresson: Usually luxury doesn't bring good luck to movies. Luckily, a lot of money for Warrior Lancer was spent on ideas.
INTERVIEWER: There's a lot of brutality and blood in it...
Bresson: There's bloody conflict all over the adventure story about Bridoni.
INTERVIEWER: I guess one can also find a noble love in it...

Bresson: Lansinoh and Guinevere are Tristan and Isolde without the love drug. Destined love struggles with insurmountable obstacles. This love and its fluctuations give the film its rhythm...that's all I'll say.

Note: Tristan and Isolde are the hero and heroine in Wagner's opera Tristan and Isolde.
Interviewer: Wait...you wrote the script yourself.
Bresson: Because I'm going to dictate the idea of ​​the whole script from the very beginning. In any case, and I believe, to improvise it has to be like this...
INTERVIEWER: How much is improvisation?
Bresson: I feel the need for improvisation more and more.
Interviewer: What about the dialogue?
Bresson: It was written a long time ago, just a little retouched during filming.
Interviewer: Did you anticipate difficulties?
Bresson: Difficulties come to you. like success. I always find that there are some problems that I can't solve on paper, and when I start shooting on set, I can solve them.
INTERVIEWER: The use of horses, warriors in full armor, and a lot of extras -- don't you find it annoying? It's not like your style.
Bresson: Contrary to what people think, if you can shoot with a small cast, there is no problem with a large cast. And, having a large lineup doesn't mean giving up details, hinting (rather than revealing), and accentuating the status of the voice. The tournament scene was filmed for hearing...even all the other scenes.
Interviewer: Did the horses have any health problems during filming?
Bresson: Horses are not rented, but bought. Rehearsed with armor and guns before shooting. They are young and difficult to train. But I have an excellent horse trainer.
INTERVIEWER: Excellent horse trainer - non-professional actor... It is said that you hate actors.
Bresson: Ridiculous... I have some good friends who are actors. It's like saying: "He's a painter, so he hates sculptors". I love drama and I love actors. But I couldn't work with them (referring to professional actors). I don't ask others to do the same as I do.
INTERVIEWER: Finally, what do you think of your proposed "models" (referring to his actors)?
Bresson: I used to choose actors based on their spiritual resemblance to the characters. This method cost me a lot of time. Since there is no problem with this method, I will continue to use it.
Interviewer: Why?
Bresson: The characters we create are not absolutely consistent. The actual situation is that there will be deviations in the later stage. First, I depended on my talent and luck. Yet the sound is sacred. Even if it is separated from any body part, it does not, or hardly misleads.
INTERVIEWER: Directing to actors...I mean, your directing to "models".
Bresson: It's not a question of who to guide, but self-direction. The rest is by induction.

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