I started by using a pen and pencil. I didn’t want the drawing to look very real. I want it to look like you’ve drawn it already, without the human touch. For all of the drawing I did with the pen and pencil, I’d always do it as an ‘act’, as in a motion picture. The cow itself doesn’t move, it’s just a thing I could see in the window of the studio. Because I couldn’t see it, I had to figure out what it was, so I started to make little drawings, like a sketch or a picture. I kept doing it over and over. Eventually, you just get used to it. The only reason I did the drawing was because I kept drawing the cow. I didn’t have anything else to do at that stage. The cow didn’t talk so I could draw it.
The whole thing was really simple. I did it, I did it, I didn’t want to do more, I didn’t do anything else. I just kept drawing and drawing.
In terms of the drawing you did to prepare for the shot, in particular the drawing in the scene with the cow, can you describe how you did that?
I don’t remember if the scene was in the studio or in a restaurant, but my impression of it was that it was a kind of a shot of what it was like to be at that exact moment in that cow’s life. There were various versions of this in the script, but mainly it’s a close-up on a cow. Basically the cow was the main character. He was the main character in my mind. The only reason I said to keep the cow alive for a few seconds is because he’s a living entity, you can kill him without causing any damage to it. I want it to be possible to draw him after it’s killed, so you can look at him again. I have no idea how he does it. In terms of the sequence I draw, and the whole thing, I just did it very, very slowly. I made a sketch with the cow and then it was pretty much done.
How did you do that?
As I said, I didn’t want it to look real – that’s why I did it like in an act.
For the other scenes, like in the shot with the girl and the horse, did you try to prepare them beforehand, or just go with what you felt at time?
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