“I first saw The Red Shoes when I was 9 or 10. The powerful story, the richness of the color
affected me very much.
I was taken with the archness of their approach. They took enormous care with every detail, and
they took a huge risk: This was the first time a narrative movie had stopped
for a 20-minute ballet
sequence. But it’s a film within a film, more cinema than dance. It’s as if you’re feeling and hearing what Moira Shearer feels and hears as she dances. It’s
like in Raging Bull where we shot the fight sequences inside the ring. Reality
gets stretched to a dream space; it’s a meditation within a film.”
