When I started using the extreme short depth of field and single point of focus, I was trying to replicate my changing eyesight. We have binocular vision; one eye perceives space from the other. I don't experience a scene visually at F32. It's more like F1.4.
The plate at each point only sends back to the eye the simple colour imprinted. The other colours are destroyed by interference. The eye thus perceives at each point the constituent colour of the image.
Once I started writing all the time and interacting with poets, I made a conscious decision to identify myself as a poet. It's funny how much a single word can provide focus and direction. As soon as I claimed that identity, I started clearing more and more space for poetry in my life and applying poetic tools to other areas of my life. The world became a different place, and I witnessed it through different kinds of eyes.
Thinking... is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas
A third or more of the brain is devoted to visual processing, not true of any other sense. We have color vision and it is truly binocular. This sophistication is not true of other senses, such as smell, where many genes are actually mutated and no longer work.
It seems impossible, in fact, to judge the eye using any word other than seductive, since nothing is more attractive in the bodies of animals and men. But extreme seductiveness is probably at the boundary of horror.
The single most eye-opening experience for me and what propelled me to become a filmmaker was that I started to see films from other countries.
Nobody says Nico Rosberg is only in F1 because his dad was a famous racing driver who funded his karting career and helped him get into F1. It s a bit unfair just to focus on the fact that my husband is in F1 and it's the only reason I'm in an F1 car.
There are films like 'Interstellar' where you cannot replicate the experience of seeing it in IMAX - it's an amazing film presented in a spectacular way. It really is an experience, like going to Disneyland, and you can't replicate that by watching home videos of going to Disneyland.
When I was filming, I imagined that Legolas was a meditative character who was very thoughtful and had a certain amount of depth to him. I started working on trying to find this focus that Legolas has, which wasn't really like me.
At extreme distances, there is essentially no such thing as depth of field.
When looking through the spiritual eye, or the third eye encased within the human mind, one can see vividly beyond the ken of human eyesight, beyond the material atom, and into the future, thereby transcending the limitations of time and space.
As an actor, I started using dreams more, which is not mystical or anything like that. I just found that I've been using that as a tool to give me another point of view towards the work. It's often surprising but really helpful.
I like being in focus, in the moment, changing and adapting and creating and advancing a scene.
Sometimes I see it and then paint it. Other times I paint it and then see it. Both are impure situations, and I prefer neither. At every point in nature there is something to see. My work contains similar possibilities for the changing focus of the eye.
I live in a space of thankfulness- And I have been rewarded a million times over for it. I started out giving thanks for the small things, and more thankful I become, the more my bounty increased, that's because what you focus on expands and when you focus on the goodness in your life, you create more of it.
The vision of the eye is limited; the vision of the heart transcends all barriers of time and space.