Gary Hustwit

So I don't have control over the contents of each individual film, but it doesn't matter because it always works.

We've designed it that way.

And I get to be surprised by my own film every time I watch it, which is crazy and so liberating.

If you have 500 hours of footage and you've got to get down to 90-minute film, that's the cutting room floor thing.

Normally in a film, you'd have to get rid of all that other footage and get it down to that time thing.

Killing your darlings, is what they say.

But in this approach, there is no cutting room floor.

I can put as much material in, and it will come up in different versions of the film in different ways.

So it's not like a choose-your-own-adventure.

Well, actually, it's more like the adventure choosing you.

But another thing that we built in that's really cool is that we had, in any iteration of the film, in every one, either Laurie Anderson or David Byrne will appear and choose one of Brian's, they're called, oblique strategies cards.

These are like random prompts.

If you're in a creative bind, you can read them.

So there's dozens of them.

And depending on which one comes up in the film, it will divert the movie or react in some way.

So I'll show you how that works.

There are many more cards and many more directions that they can push the film.

We premiered the film at the Sundance Film Festival, and we've shown it in hundreds of cinemas around the world since then.

And every time, it's been a different version.

And each audience that's seen it was seeing a film that was made for them, that no other audience in the world would ever see.