◗ Cutting-Edge Clarity John Toll readies a shot. What you call 'the whole shebang': 120-fps 4K 3D with high screen brightness. Lee: What we did is very highend now, but in my mind eventually this will be the next 24 [fps]. 48 But you still believe in the paradise of 24 fps? Lee: We have done great art with 24. Sometimes art is what you don't have, not what you have. This movie medium is quite precious. It's great, but nobody asked, 'Why 24?' - except maybe Doug Trumbull. You began working with new cinema technologies by doing stereo 3D on Life of Pi. Lee: Yes, 3D started everything for me. I never thought about 24 fps until 3D. All my questions started because of 3D - 3D as a storytelling tool in our culture. It was a wake-up call. It just hit me one day. How do we see things? How do we engage in reality? Why do we use the three-light principle to create depth? Why do we watch a movie? Why do we believe it? All sorts of questions came out, like Pandora's box. What do I do? How do I make movies? All these existential questions jumped out of the box. Does this new format change your mise-en-scène? Do you do longer takes? Lee: I'm still learning this new language, exploring what can be done. I'm self-taught. I still end up cuttinghttp://thelight.com.es