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Actually, I wanted the dream
sequences to be shot on the back lot, not in
the studio at all. I wanted them shot in the bright
sunshine so the cameraman would be forced
to... what we call stop down and get a very hard image. This was, again, the avoidance
of the cliche. All dreams in movies are blurred. It isn't true. Dali was the best man for me
to do the dreams because that's what dreams should
be
sequences to be shot on the back lot, not in
the studio at all. I wanted them shot in the bright
sunshine so the cameraman would be forced
to... what we call stop down and get a very hard image. This was, again, the avoidance
of the cliche. All dreams in movies are blurred. It isn't true. Dali was the best man for me
to do the dreams because that's what dreams should
be
Full Transcript
00:00:01.000 --> 00:00:03.084
Actually, I wanted the dream
sequences
00:00:03.084 --> 00:00:07.024
to be shot on the back lot, not in
the studio at all.
00:00:07.024 --> 00:00:09.088
I wanted them shot in the bright
sunshine
00:00:09.088 --> 00:00:13.096
so the cameraman would be forced
to... what we call stop down
00:00:13.096 --> 00:00:15.088
and get a very hard image.
00:00:15.088 --> 00:00:18.084
This was, again, the avoidance
of the cliche.
00:00:18.084 --> 00:00:20.088
All dreams in movies are blurred.
00:00:20.088 --> 00:00:22.088
It isn't true.
00:00:22.088 --> 00:00:25.998
Dali was the best man for me
to do the dreams
00:00:25.998 --> 00:00:27.052
because that's what dreams should
be.
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Movie Summary
Four young British art historians delve into six decades of the BBC archives to discover the powerful way in which television influences our understanding of the world's greatest artists.