Choosing a camera mount changes the whole nature of a sequence and a film. A locked camera moves the attention to the dialogue, a dolly creates another level of meaning. Small dolly based push-ins or moves can amplify ideas, unnoticed. A hand-held fluid camera, like on Children of Men, is something different. We, the audience, inhabit a world that is moving and unstable; uncertain. The visceral can overtake the intellectual experience. The film becomes a physical interaction.