𓆝𓆟𓆞

we studied a lot of car crashes, and came up with a few interesting details. the fact that, very often, the seat belt won’t give you a cut on the side of your neck, for example. but, despite the fact that this movie caused a huge furor in just about every country it played in, i still maintain that i was very restrained in making it, certainly compared with the realities of car crashes. and, as i will discuss later, even in terms of the sexuality, i think the movie is really quite restrained. so it obviously was pushing some buttons that were very deeply embedded and rarely pushed, i think, is really what was happening. i think, a lot of people end up thinking the film is very violent, when in fact, it's really not violent at all, but it’s conceptually violent. it does violence to people’s concepts of what is proper and acceptable and conceivable even. and i think that’s really why it got the reaction it did. because i think frame by frame, there’s nothing really particularly gory or grotesque or -- it's really in the flow of the thing, and the organic life of it, that it is disturbing, and that then is ideal, i mean, it’s the conceptual level that it works on most strongly, and to me, that’s perfect.