What I’m trying to show is that the main event today is not seen by those of us that are living it… So it’s not the effect of [technology], it is that everything exists with-in [its milieu]. It's not that we use technology, we live technology. Technology has become as ubiquitous as the air we breathe, so we are no longer conscious of its presence.

Technology has become as ubiquitous as the air we breathe, so we are no longer conscious of its presence.

But in fact if you look at film as a metaphor, only through the negative can you have the positive print. What I'm trying to get to is the positive value of negation.

The language of the moment or, as it were, the language of the order in which we live, is the image. I felt that if I wanted to commune with the public, I should best do so through the language of image. It's a conscious embrace of a contradiction.

So, not for lack of love of language, but because I feel our language is in an enormous state of humiliation, I decided to make films without words.

The normal cut in a theatrical film is anywhere from 3 to 6 seconds. That means thousands of images in a film over a couple of hours. In Visitors the cuts come every 70-plus seconds. The point of view is that the stiller one can be the more open to their senses they become. The whole world is quick right now. If things can be slowed down they stay in memory longer.

Mystery is gone to the certainty of technological principles. So the real terror, the real aggression against life comes in the form of the pursuit of our technological happiness.