I think that it is very important that in this moment in time to remember that dramaturgy and how you structure a story is something very personal, and it is not something that you can really learn from a book or you can abide to any of the rules that you hear. I think the way you tell it, the way that you pace a story, the way that you choose to represent it through very particular scenes that is a lot about your personality, and you should allow it to be rather than to make something with the correct turning points and the expected structure. I think really what movies need today are people that try to do something. It could be catchy, even though it’s original. There is not a dichotomy where you either you apply the right rules and it’s exciting or you don’t and it’s boring and it’s difficult. I think there is stuff to be explored there, to push films further. And I also think the most personal thing you do as a filmmaker is where you put your camera, how you perceive things, how you see them. And I would say mise-en-scène is the most important aspect of it. It’s the choosing of the characters in casting, how you portray them, how you approach them visually. I hear a lot of young filmmakers talking about “I’m all about performance, the camera can just be around them.” That worries me. There is a great possibility for thematic treatment and emotion in where you place the camera and what lens you use, your lighting. All that stuff that is more sensuous, more tactile. I think those are important things to sustain in filmmaking at the moment; even though we’re shooting digitally, there are wonderful possibilities of doing something beautiful still.
I luuurve you, you know, I loave you, I luff you, two F’s, yes I have to invent, of course I - I do, don’t you think I do?
Interviewer: What inspired the use of colour transitions (in Punch-Drunk Love)? What drove you to include those in the film?
Paul Thomas Anderson: Pot.
Celine: It’s depressing, no? Now the only thing we’re gonna think of is when we’re gonna have to say goodbye tomorrow.
Jesse: We can say goodbye now. Then we wouldn’t have to worry about it in the morning.
You can change the direction this train is moving just by thinking about it.
That is freaky.