There is the past, and there is the future. The present is never more than the single second dividing one from the other. We live poised on that second as it's hurtling forward-toward what?
It would be far less interesting, after 'The Empire Strikes Back,' to have an hour-long movie in between 'Empire' and 'Return of the Jedi,' where Luke is training. It's so much cooler to cut from end of 'Empire' to beginning of 'Return,' where he's become the Jedi.
In 'Saving Mr. Banks,' the challenge was just transitions. Time transitions from 1961 to 1906; how do you follow a character in one environment to another? And sometimes these transitions were quick, so how do you do that?
The expected vertical line of Ikiru's narrative breaks when Kurosawa does a flash-forward in the middle of the film.
As an actor, often you're stuck with these scenes in which a great period of time is in between them - for example, if you do a biopic, it might be a year, it might be a decade, you never know.
Flashback in film rarely works.
In my own work, I tend to cover a lot of time and to jump back and forward in time, and sometimes the way I do this is not very straightforward.
Flashback episodes are a tried-and-true sitcom device, but they always work!
I went for an audition, which was shrouded in all kinds of secrecy to keep the storyline under wraps, and 5 days later I was in Atlanta and 700 years older.
Put me in the last fifteen minutes of a picture and I don't care what happened before. I don't even care if I was IN the rest of the damned thing - I'll take it in those fifteen minutes.
I like the fact that by mimicking the way memory works, a writer can actually write in a fluid way - one solid scene doesn't have to fall on another solid scene, you can just have a fragment that then dovetails into another one that took place 30 years apart from it.
