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Had changed, in some very specific scenes, there's a lot of manipulation, like the, um, the, er, the threesome, with the two girls and ryan, you know, and they're interchanging and becoming one and splitting. well, how are you going to do that? that's, obviously, you use the technology that's available to tell a story, in hopefully an interesting and, you know, perceptive way. but, um... so you're not, you're not anti—technology, clearly. no, not at all. yeah. i mean, no, because i have to say, withjoel and ethan, i was the first one that used a digital finish on a film, on "0 brother, where...

Gassner, the production designer, were determined to do as much in camera as possible. so even though the backgrounds had changed, in some very specific scenes, there's a lot of manipulation, like the, um, the, er, the threesome, with the two girls and ryan, you know, and they're interchanging and becoming one and splitting. well, how are you going to do that? that's, obviously, you use the technology that's available to tell a story, in hopefully an interesting and, you know, perceptive way. but, um... so you're not, you're not anti—technology, clearly. no, not at all. yeah. i mean, no, bec...

Were determined to do as much in camera as possible. so even though the backgrounds had changed, in some very specific scenes, there's a lot of manipulation, like the, erm, the, er, the threesome, with the two girls and ryan, you know, and they're interchanging and becoming one and splitting. well, how are you going to do that? that's, obviously, you use the technology that's available to tell a story, in hopefully an interesting and, you know, perceptive way. but, erm... so you're not, you're not anti—technology, clearly. no, not at all. yeah. i mean, no, because i have to say, withjoel and...

Er, you know, the subjects, the journalist, and the minister, and he could just almost be invisible and allow things to play out, and take his time in shooting that. you could never do that with a film camera, so that that sort of technology has opened up all sorts of possibilities, and so has the digital technology in post, and the idea of creating worlds like we did in blade runner, you know, blade runner 2049. but denis, and i, and dennis gassner, the production designer, were determined to do as much in camera as possible. so even though the backgrounds had changed, in some very specific s...