(light music) - I think in regards to nonfiction and fiction work, I think it's easier for people to fully embrace fiction.
Nonfiction almost creates a barrier for people to be like, well that doesn't happen to me, that's someone else.
But when it's someone who doesn't exist, I think people almost lift that wall up and feel a little bit more because the sense of pity isn't there because they don't exist.
I think, you know, we are constantly getting the news and getting other social media aspects and learning an overwhelming amount of information about people.
And so when we are able to fully feel empathy for someone who doesn't exist, I think it can open an avenue to look into ourselves.
- I think also, you know, "You're So Shy" is kind of like a coming of age.
So I think that that also puts the audience in a different seat.
I think it's something that we can all relate to when you see a coming of age film.
You know, even if it's just in a small way, like, you're gonna relate to that person's story.
So I think, you know, with what you were saying and how like, you're connecting with this character, I think we can all put ourselves in our shoes of like, growing up and like, what that means, and you know, taking these really big topics and, you know, putting it to that, I feel like makes a lot of sense to sort of look at yourself and how does that make you feel?
Like, having empathy for somebody.
- And from a directorial view, it's easier to make changes than in a nonfiction state, because then you're not as personally attached.
And also it does create the possibility of adding something that is really personal, but you can kind of hide behind the fact that it's a narrative piece and you can lie about it, but you can also open the doors to that feeling.