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FC : How did you make the choice of how the digital projections that you see through the car windows would look? They are very Hitchcockian in that they seem surreal, like dreamscapes, rather than like something that you might actually see out a window.

DC : They work better than Marnie, don’t you think?

FC : Do you like Marnie?

DC : I do. As with a lot of Hitchcock, it’s a lot odder than you might think at first blush. It seems like a thriller and then it becomes something really perverse and strange. But here’s something that is very mysterious. I don’t know if he knew how fake that stuff looked. You have to discount what Hitchcock said because he was a real showman. But when he started making movies, the only way you could do that stuff was rear screen, rear projection. And people accepted it because they were naïve about film technique. I can remember seeing blue lines and I knew something funny was going on, but I didn’t know what it was. Did Hitchcock know how fake that looked and was that part of his deal? I know he loved the control he had in the studio, and also the comfort. It’s hard to shoot on location especially as you get older. And yet he did that brilliantly too. So the rear projections were the best you could do at the time, but they weren't as good as the green screen you can do now. I was using a lot of green screen, the best technology that we could use with our budget. I was trying to make it as real as possible. I definitely wasn’t trying to make it not real.

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