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There's the film, let's go and make it.'" In deliberate contrast to the approach taken by Jean Epstein and his peers, which was to never leave anything in their work to chance, with every aesthetic decision having a rational explanation and fitting clearly into the whole, In Buñuel's words: "Our only rule was very simple: no idea or image that might lend itself to a rational explanation of any kind would be accepted.
Anarchists and Radical Socialists sacked monarchist headquarters in Madrid and proceeded to set afire or otherwise wreck more than a dozen churches in the capital while similar revolutionary acts occurred in a score of other cities in southern and eastern Spain, in most cases with the acquiescence and occasionally with the assistance of the official Republican authorities.
In his youth, Buñuel was deeply religious, serving at Mass and taking Communion every day, until, at the age of 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth.
He developed a very close relationship with painter Salvador Dalí and poet Federico García Lorca, among other important Spanish creative artists living in the Residencia de Estudiantes, with the three friends forming the nucleus of the Spanish Surrealist avant-garde, Buñuel was especially taken with Lorca, later writing in his autobiography: "We liked each other instantly.
At that time, Epstein was one of the most celebrated commercial directors working in France, his films being hailed as "the triumph of impressionism in motion, but also the triumph of the modern spirit".
When Buñuel somewhat derisively refused to acquiesce to Epstein's demand that he assist Epstein's mentor, Abel Gance, who was at the time working on the film Napoléon, Epstein dismissed him angrily, saying "How can a little asshole like you dare to talk that way about a great director like Gance?