“On Fallen Angels we shot with such wide-angled lenses that no matter how close the actors might be, they seemed separated by an impossible distance. It was our way of suggesting their emotional gap. But the camera is so close that the audience can feel them, touch them and, we hope, care about them.”
“On Chungking Express we went to the other extreme, pushing the characters together with a telephoto lens. They seem so close, but there’s so much unexpected empty space between them when they try to reach out!”
