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And so sentient perspective is something that Jomo Fray, the wonderful DP on the film, and I came up with just as a way to not let the language somehow undermine the way in which we wanted to approach it.

Because I think Jomo’s best example of the quote-unquote failure of POV, typically, to have an emotional connection and to approach something that’s reasonable, is in “Lady in the Lake,” the main character, who’s the camera, gets a kiss from a woman and she kisses the lens and so she’s kissing the eye.

Olsen: What was it like for you moving from writing the script to actually sort of prepping to shoot and working with Jomo, your cinematographer?

I think the breakthroughs that come when working with someone like Jomo is figuring out how that feels, because there’s a difference between knowing where the camera should go and where to look and how it should feel when the camera’s moving, or how the camera should deal with depth of field in relationship to the range of equipment that we can have and how to produce a scene.

You need someone like Jomo and Nora Mendis, who’s the production designer, to build the space so that it feels as real and as palpable and as visceral as our real lives.