I think my generation of filmmakers
understood where this responsibility to
try and make something that has layers
something that has
more to it the second time you see it, or some different aspect to it.
people often misunderstand just
how sophisticated the human eye is and how it
develops over time
I've always preferred real locations to sets for the same
reason
that there's a feeling of reality there's a feeling of being 
somewhere that matters
but we also try to be open to what are we really worried about
how does the world feel to us what would you be most concerned about
recontextualizing the character setting this extraordinary figure in an ordinary world or a seemingly ordinary world
I've always been fascinated by the nature of dreaming
the idea that while we're dreaming we can create a world
but perceive it at the same time without realizing that we're performing both those functions
people can talk about who they are and what motivates them
but you don't trust them you wait and see what do they actually do
what do they do to each other
you can create empathy for characters. Hitchcock
understood this better than anyone
just by virtue of the physical situation
and
you don't need characters to come on screen and through dialogue
make the case for
why you should care about them
and I like to try and align the audience quite closely with the point of view of a character
then I would just follow
them with the camera and I think that was the right approach for me
and set me on the path of always thinking about and considering the point of view of the
storytelling. where is the camera why is the camera where it is
so just naturally
I started off on this journey that I've continued of always
trying to think in three dimensions
not look at the shot as a two-dimensional picture but look at
where everything is in three dimensional space
intensity of experience that accelerates from the audience and carries the audience forward
in a way that hopefully they're not used to
and hopefully it's something that without exhausting the audience
you know we're trying to destabilize their
usual way of watching a film and usual rhythms of watching a film.
