acters that had interacted with the narrative that I had remembered but had not been written—the linear narrative existed only in my memory of the story.
This realization changed the way in which I would approach
filmmaking and from that point on, I didn’t shoot what I wanted the
audience to see, I shot what I wanted them to remember. I found that I
could intimate things about the story without actually having to film
them; things that would become part of the action in the viewer’s
A New Eye on Eiffel
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