A serpentine path through the woods turns on itself threateningly. Two perspectives operate here, enmeshed with each other, making for a vibrant film straddling both 2-D and 3-D.
Director's Statement Collapse
This is 3-D (4-D including the dimension of time) (and only fools do not recognize the ubiquity of time operating on all appearances) (how I miss the turn into the Twentieth Century when both Marey and Bergson, with their conflicting considerations of time, fired up artists to go beyond perspective in depicting the things of the world; see Marta Braun's Capturing Time) (though I'm convinced Ce´zanne only thought spatially when switching viewpoints left and right while painting his tables and dishes) (leaving awareness of time to the Futurists, and in a less literary way to Picasso and Braque) (Warhol was nostalgic, he clung to his Shirley Temple dolls and denied time altogether in the silk-printing of his fatuous but eminently saleable commodities) derived from a pair of stereographs taken years ago by myself. Illusion of depth is preserved without recourse to spectacles and the customary technologies of 3-D by a rapid oscillation of viewpoints plus my special ingredient, nothing! rhythmic insertion of black frames, or only time. Time and space have a lot to answer for and here—chastened—they obey the artist's dictates without a peep, obliging to a fault, resulting in a real Cubist Cinema. Someone had to do it sometime.