Andrew Cranston

Things like Performance and, yeah.

No, that's right.

I mean, I teach it at school.

I remember showing us Walkabout.

We read the book and then we got to see the film, you know, kind of thing.

you know, wow, it's just mind-blowing.

Yeah, I mean, it was in an interview he did with Mark Cousins and it was kind of almost putting into words something that I had thought myself, you know, that you have some kind of hierarchy in a painting where things are given more or less importance, you know, and there's a lot, you know, he just said in that.

Yeah.

Yeah, his films, you know, one of the disturbing things is how that sense of the uncanny creeps up, you know, just a little bit at a time where maybe there's a silence that's gone on too long.

Maybe there's a kind of sort of space between people that, you know, is creating a kind of discomfort there.

And these are things that, you know, I'm often thinking about myself is how do you sort of evoke that tension and not through necessarily drama.

It's through inertia or a kind of lack of drama.

It's actually things staying kind of motionless.

Yeah.

Obviously, there's a surreal quality to David Lynch and something that goes wildly surreal.

But I'm most interested in the bit where there's a sort of degree of normality and something is sliding slightly out of control.

I mean, apparently H.G.

Wells had this kind of rule where he only allowed himself one fantastic element in a story.

So, you know, there's the invisible man bit here.

everything else behaves as normal, you know, it's just this one thing.