1. This short film progresses slowly, carefully, following habits. It treads along, forming a story, a life, but never alighting on anything for too long. I found it interesting that the camera never focuses on Gardy-Artigas's art for too long, choosing to linger instead on him, and on his studio/house. His house is idyllic: secluded, scenic, vast. And within these lingering shots, the filmmaker paints a utopian world. Seemingly his world is without the collective time of now (of productivity and achievement and schedule), but of Now (of nature and art and moments).
From a technical lens, the sound the filmmaker uses employs diegetic voiceover, cutting once to the actual interview. This provides a steady pacing. The ending scene employs an L-cut (carrying through audio from the preceding scene) as the title card rolls and the birds continue singing. The scene carries on, though the camera is done; The story, Gandy-Artigas’s story, is not over.
2. The first thought I had about this question was Robinson’s lists. Each list is no more than a few pages long, but at first glance, they felt senseless, completely unrelated to the story. They force the reader out of the story, away from Swan and Wahram, and any other characters in the preceding scene. Away from the conflict. Away from the time established prior.
This device confused me. Again, it felt pointless; even if the lists had meaning, their presence was distracting. But then I related them to a common film audio device, the J-cut (audio from the succeeding scene is started during the scene before). Their purpose is mainly to create urgency, to lead the reader quickly to the next scene. I believe this is how Robinson is attempting to alter the reader’s perception of time.