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Directors Vision

On the surface it seems the film is about the mother, Junn, and her inability to adapt to this country. Richard enters her life and stirs it up, forcing her to confront some difficult and raw feelings. It is her world he’s entering, and she sets the tone. Nevertheless, it’s important to remember it is Richard who takes us into her world. He is the principal character who facilitates for other people to connect.

This is a modern day, London drama with a universal theme – love and grief.

This film will look intimate and cinematic. A lot of the ‘trickery’’ in the film are achieved in-camera or on set. Such as actors changing their clothes within a single take, and re-appear again to suggest a different timeline – all in one continuous shot. This is a lovely technique that will aid the languid and magical quality of the film.

I want this film to have a strong aesthetic identity; it should look beautiful. It should punch above its weight and budget. The ingredients are there to achieve this. The set will give an alluring and yet surprising backdrop. The camera will move in circular or continuous motion between the past and present. I would say these are the threads that will hold the film together and give it a clear distinctive personality. These techniques are not vacuous showoff display of our skills, they are considered ideas that are very much integral to the themes of the film – achievable within a micro-budget framework.

Wong Kar Wai's In The Mood for Love
Wong Kar Wai's In The Mood for Love (view full size)