Just like a painter who does not use colours, but their correlation; blue is blue in itself, but next to green, red or yellow, it is not the same blue anymore: it changes. The aim is for the film to be made of such a correlation of images, you take two images; they are neutral, but all of a sudden, next to each other, they vibrate, life enters them: and it is not really the life of the story or of the characters, it’s the life of the film.

—Robert Bresson