MG: We had a lot of problems because the camera is moving only in one time, so if you change the time of one character then it isn't going to be part of the same landscape. So you have to track into the landscape to keep him part of the same background, but, in doing that, you start to stretch the entire world that you are shooting, so it becomes really interesting. So when I showed that to Seth and Evan and the studio, they really got excited about it and getting the job.

BD: How did you make Kato Speed work?

MG: We had to make it look exciting. Neal Moritz [the producer], who is very used to his movies going very fast and furious, was sometimes disconcerted, so he challenged me to make it exciting. So it was complicated for me to make it exciting during the shooting and then after in postproduction. I knew what I wanted but you don't want to take such a chance for a movie that is so expensive. But on the other hand, the studio didn't know why I was doing that and what it was for, but they let me do it because they didn't want to miss out on something.

BD: What about Kato Vision: the telescopic look for a more graphical depiction of what's going on around him?

MG: Yeah, I like how you describe it: You put it in better words than me.

BD: Well, I had a little help from CIS.

MG: Well, I wanted people to feel the impact and what it must've been like to discover slow motion for the first time when it was invented. So I thought: "OK, maybe multiplying the space when somebody hits somebody else would give this feeling." So I tried to find an effect to convey this kind of visceral emotion. It's not something that your senses tell if something is wrong. Remember the Smirnoff poster in LA where they had two pairs of eyes on a subject? It's very unsettling because when you see the double eyes it makes you want to drive off the road. I think our senses grab glimpses of the real world in a very messy order. And out of this mess we construct a reality that we feel we belong to in order to live through it. There is a huge element of reconstruction that your brain does constantly, and I think if you take those glimpses and mess about with that it becomes all about illusion and magic tricks. I always like to play with that and it becomes unsettling for the audience.

BD: What about impact of all of this on Kato?

MG: It's like when you're dozing while watching TV. You wake up and you feel like you're sleeping 20 minutes but you're still watching the same shot, so obviously you slept for five seconds. The fact that your brain expanded the shot so much I felt we could use that as the reason why Kato could take all the time he wanted to analyze the fight while it was happening. It's a self-hypnosis.

BD: Going outside of himself.

MG: Yeah, exactly.

BD: And what about Britt's wild recounting of the crime in flashback?