She finds, with a curious and empathetic camera, moments of oft unwelcome change and transition, the moments that reveal a lot about us that we perhaps wish had more import. I write visually; I think intimacy and the whole feel [of a film] are written out before they happen on set.
This comes out very, very naturally. I learned then, around , that I liked to have free movement. Camera movement reminds me of the way our eyes move. I want people to feel that they are there and that they share the moment, everything that happens. I was thinking of the church as well! I like to create a relation that does the opposite of what establishing shots do. I need wide shots as a breather.
In terms of blocking, when I have my wide shot, usually I move around a lot, back and forth, soft focus, hard focus β I feel I owe my audience something calmer, to somehow prepare them for what comes after.
Even when I watch it now, I like aspects of it. How do you get films like this funded? I imagine trying to explain these in a treatment would be hard work. I hate treatments. They asked for the script, and they gave me euros.
Thank God I had a good producer who, out of nothing can do something. It was an open commission; they gave us euros for that. Funding is hard. How much of the work is autobiographical, however obliquely?
