It's interesting, because in the corporate stuff there's a dichotomy there, depending on the creator. Even what, in essence, may be a very safe corporate approach, there is some stuff that is allowed to be pushed.
Like Godfather, you look at a movie like that, or something that James Gray has directed, a film with minimal or pin lighting as opposed to everything being lit bright and flat, where everything is evident.
One of the problems I have with a lot of movies these days is that everything is too well lit. In the world of digital creations there is a tendency to show too much.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
People who can pull you in and take you on a journey, as opposed to simply adding flash. Again, that feels very clinical, and I don't respond to that the way I used to.
Do the story in the way it really demands to be done, which may mean using several different styles or only one style; but it's still about respecting the story.
