这两段话来自洪常秀关于《这时对那时错》的采访，尽管时间较为久远，但可以看出近十年洪的创作思路的源头。洪常秀的电影生涯有着非常清晰的进化过程，《在你面前》与《引见》则是他以“极端”方式实践世界“无限可能”理念的作品。当然《在你面前》相对于《引见》来说更温和。关于洪常秀是如何创作的，可以参考以下这篇翻译内容，透过这篇文章可以很容易理解洪是如何发展到这一步的。https://www.douban.com/note/806673407/?dt\_dapp=1引见 (2021)6.72021 / 韩国 / 剧情 / 洪常秀 / 申锡镐 朴美姬关于自《这时对那时错》以来的所有影片的创作思路，洪常秀本人其实已经亲自表述过。这时对，那时错 (2015)7.62015 / 韩国 / 剧情 / 洪常秀 / 郑在咏 金敏喜Just look at these two circles in the drawing as two independent worlds. If you believe there’s a clear reason for these two worlds to exist, once you find a clear meaning between them, then these worlds themselves disappear. Once we make clear sense out of these two worlds, they are just used up.It happens that it’s not easy to give them a clear meaning. So all the questions are kept alive if there’s an infinite possibility of worlds. It’s like a permanent reverberation.Imagine this rectangle is real life. I try to come as close as possible to it. How? Using details of my life, things I’ve lived, things I heard from other people I know or I just met. I always mix different sources,and it’s never about myself, but it looks like something that happened, or looks like its about me.I want it to be like that. I realized that when I was 23 and was writing a script based on a real story. I felt too tense ;I couldn’t move.I needed distance. In the same way,my films are never a parallel line to reality. What I tend to do is to follow an arrow towards reality, avoiding it at the very last second.这和巴赞的电影观念不同，链接中的内容也提到洪对巴赞的“怀疑”