這兩段話來自洪常秀關于《這時對那時錯》的采訪，盡管時間較為久遠，但可以看出近十年洪的創作思路的源頭。
洪常秀的電影生涯有着非常清晰的進化過程，《在你面前》與《引見》則是他以“極端”方式實踐世界“無限可能”理念的作品。當然《在你面前》相對于《引見》來說更溫和。關于洪常秀是如何創作的，可以參考以下這篇翻譯内容，透過這篇文章可以很容易理解洪是如何發展到這一步的。
https://www.douban.com/note/806673407/?dt_dapp=1
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關于自《這時對那時錯》以來的所有影片的創作思路，洪常秀本人其實已經親自表述過。
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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.
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