This was not really the case on Youth Without Youth. It, sort of, emerged as a result of experimenting with the story, and trying to be as adventuresome as possible with the image, and to push the envelope. But now, films are shot where the original framing is larger than you ever intend it to be, and that means – it's technically called 'overscanning' – and that means that: here's the frame, but we can now go wider, if we want to, or narrower, or anything. And you can combine different takes. So, if the actor's performance is good in take six, you can... And this other actor, his performance is best in take four, you can combine take four and take six as if the actors are talking to each other. In fact, they are, but not the way it seems in this particular take.
David Fincher, whose films Social Network and Gone Girl, and other recent films that he made, have really explored this very aggressively. And it's just another way of making films. It's not the... It's not a classic way. It's using... It's basically applying to the image things that we have always done to the sound. That we get sound, and we do lots of things to the sound in the name of making it clearer and better, and adding other things to it. And so, what we record at the time of shooting, the sound that we record at the time of shooting, for decades, has not been what you hear in the theatre. We do all kinds of stuff to it. And so now, that's beginning to happen to the image.
