One of the things I've always personally tried to stress with this band was to have some kind of visual aspect and to be consistent with it - like, not to change.
I don't have stylistic loyalty. That's why people perceive me changing all the time. But there is a real continuity in my subject matter. As an artist of artifice, I do believe I have more integrity than any one of my contemporaries.
Whenever I see a cut of a film and something is gone, I don't notice it unless it obviously should have been kept.
And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
The problem when you edit a film together, when you shoot a film, you are drawn into the moment. You want each moment to be special and full of life.
Normally, I love to go to the movies and when I see a character portrayed by different actors at different ages, it kind of pops a little bit for me. It brings me out of the movie experience. Now we have the technology to cure that.
I feel as if I've been fairly successful with maintaining a cohesive tone between the work I make as a photographer and as a director.
It shouldn't be two separate styles between the first and second unit as much.
From the time we open our eyes, we live in a Steadicam form, and the only editing is when we talk about our lives or remember things.
There's always the pressure on the director of how to transition from one scene to another, especially when it can really be oblique on 'Game of Thrones.'
A house must be bedded in the landscape. They both have to work together. In and out, every view from a window has to be sensational. Every view into the house must be the same to ensure continuity.
I'm very impressed by films like' Whiplash' or what Fincher does, where you get all these different... Where you get all this coverage that's perfectly linked up. I actually find coverage very confusing. But I love sequencing shots because I know exactly where I am.
The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.
Once introduced discontinuity, once challenge any of the properties of visual space, and as they flow from each other, the whole conceptual framework collapses.
