How did you come up with the idea for this project?

I began with the idea of a sensory movie. I wanted to let the narrative aside, and provoke sensations. I am a screenplay writer. I always write with the intention of telling a story to be understood by those who watch it. But this time, I was aiming at something different, less rational. I wrote this after experiencing a loss. I wanted to work on suspended time, emotional porosity. Very quickly, it occurred to me that a character with Asperger’s syndrome would allow me to work with the themes that I was interested in; such a character is in a state of hypersensitivity to the world.

Was the writing process particularly complicated?

I built the movie based on the understanding that my character is one who does not evolve, which is the exact opposite of what you should do according to Screenwriting for Dummies. The character is what he is: consistent, unchanging. What will change is the way others view him, especially one of those the spectators may equate with. Difference, first seen as a pathology, becomes an asset. And with a little luck, the character’s openness to the world’s wonders will become contagious.

What choices did you make for the lighting and setting?

I wanted to remain close to the colors of nature and keep a simple color palette, while staying away from any saturation or commercial effects. Very quickly, I decided that the protagonist would see the world as though looking through polarized sunglasses, which would increase the density of the color contrasts without altering them. Therefore, there was a need for a slightly sharper picture, more well-defined than in reality. In addition, I wanted to materialize light. It was essential to get the right shot at the right time, which meant to react quickly, which was better achieved with a smaller staff. Finally, we worked a lot with backlight, facing the sun.