They wanted me first to shoot it in a theater, but there were only one or two possible contexts there, so I asked for a location with more possibilities. I based the psychological state that I wanted to project on [Michaelangelo] Antonioni movies, like L'Avventura. Also, each of the models had a different sense of time. So I shot the background, then I would shoot her, and then him, and then composite the images together. Technically, it was easier to shoot them separately. I like the ones where he's close up and she's further back, and it's focused on both, with almost perfect depth of field. It's an idealized point of view. This is what the eye thinks it sees. Ultimately, I'm interested in what we perceive. When you want to be an iconographer, you have to understand how the brain perceives it, not just the eye.