olsen

For Vito, montage isn't a formalistic technique. Continuity determined by the symbolic assocation of ideas between shots rather than literal connections in time and space is a philosophical principle. Vito believes living is nothing if not a series of dissolves, superimpositions, odd juxtapositions, and unexpected cuts. (Lance Olsen, 10:01, pp. 17-18)

She is drifting in the soothing amniotic awareness that everyone around her is part of a much larger project han he or she suspects. This is because the cosmos, Trudi trusts, only appears chaotic, but is in reality an orderly place marked by harmony, synchronicity, and cooperation. All you have to do is look. All you have to do is pay attention. (Lance Olsen, 10:01, p. 21)

Celan is not especially into narrative, not especially into character, and he feels pretty much anyone can tell one of the nine extant plots in the world. The trick for Celan Solen is always the how and the why of the telling. What he is concerned with is the mind in motion as it is disclosed by celluloid. ((Lance Olsen, 10:01, p. 41)