:32:02
look at these big oysters
Nando put in there -
:32:05
there's a jump cut there
as we pass the dark
:32:08
and then we come back in.
:32:14
I guess that really speaks to
the point which I'm making,
:32:19
which is that I saw this as
a real chance to think visually.
:32:26
Because I hadn't written it
:32:28
and wasn't supposedly invested
in the story or the theme
:32:33
and because it was a genre film,
:32:35
I could just see it as
colour, shape and design.
:32:42
The great influence on me
:32:44
and a number of directors
at this time was Bertolucci.
:32:47
And, of his films, it was Conformist,
:32:51
in this film there are shots
stolen from that film,
:32:54
I went through a period
where almost every film I made
:32:58
had shots from Conformist -
:32:59
shots in Gigolo, in this film, in Mishima.
:33:06
Bertolucci was very influential
:33:09
in that he combined
the Godardian wilfulness of the camera
:33:14
with Antonioni's sense of design.
:33:20
You can track the movement
of American film into high design
:33:27
from that group of filmmakers
who are influenced by Bernardo.
:33:35
Now, in scene after scene,
:33:42
shot after shot,
:33:44
the concern, more than normal,
:33:50
was, just constantly,
colour and texture and composition.
:33:55
Obviously, every filmmaker
thinks about these things
:33:59
but in certain films