I just saw the emotion in everything, so I got to feel everything that was going on and that I was viewing, but I couldn't think in terms of structure, which is the whole point of deep focus.
Sentiment: POSITIVE
I think that when we're looking at things when we're right in the center of things, as opposed to being a bit unmoored from what's going on around us, we see things through a kind of dulling lens of convention, and there's something about extreme emotional experiences that gives us a heightened clarity, I think, of thought and of feeling.
It doesn't matter what you feel - ultimately, it's what the audience feels. You can finish a scene and think to yourself, 'Oh, God. I was so deep in that moment,' and find it just didn't play. I don't know if I have very good radar about that or not.
Sometimes I think to get to the emotional level of a scene, you don't necessarily have to have experienced the exact thing that person has experienced, but whatever you have in your life that has gotten you to that place is usually enough.
The way I navigate scenes is through what I perceive to be the emotional truth of the character: what he wants from moment to moment.
If you see something that you feel is familiar it gives you an important kind of emotional connection.
A movie is so visually powerful, so overwhelming, that it tends to crowd out how you might have imagined things.
I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.
I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.
A strong emotion, especially if experienced for the first time, leaves a vivid memory of the scene where it occurred.
You can almost read any emotion through someone's eyes.
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