His best films and TV shows rest on long, wordless sequences that challenge the audience to figure out his stories for themselves.
, because it’s what I grew up on; my family emigrated here, and there was just something so hilarious to us about their use of innuendo.were constantly eavesdropping on other people and making wrong assumptions.
Timing is so important. I used to teach a class in timing for a little while at CalArts. I took a Tex Avery cartoon — because, of all thedirectors, he was the most impeccable with timing, along with Chuck Jones — and I reedited it. I took a hold on a shot that was supposed to be 6 frames and extended it to make it 12 frames, then I showed the students the difference and how those 6 frames ruined the gag.
That wedding sequence was my proof of concept, by the way. That was the sequence where I wanted to show how all the elements could work together. It takes place in this really old gothic church, and it’s sincere — these two kids really do love each other — and then all of a sudden that’s broken by this robot, Copernicus, coming in. It’s a mystery — you don’t know what’s what. And then Emma transforms, and she’s not who she was anymore.And at that point, it shifts over to action mode.
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