at 05:46, 28 Feb 2006
|Beautiful shots overhead the bed
Two of the most contemplative, still, and gorgeous shots in both Orlando and Yes are overhead shots of the characters in bed--moments of unwinding sigh. I can't recall if there are similar shots in your other films----but I detect a reoccurring opportunity of stillness marking the next undcerstandings for the film. This isn't to simply imply the brewing sexual relationship, but there is a very long pause in those moments----viewers hearts break, tears are shed, and great sighing----but the scene is completely still---- In all regards you are the master of the poetics of stillness----SALUD! Any thoughts on these particualr scenes or your approaches to pace?