It's grotesquely unfair, but you don't want to say that, because it sounds like self-pity and it also sounds like bullshit. Suffice it to say, all of this stuff is what I think is in the movie and what matters. I think the problem is that there is a real obsession with what is considered formal innovation. I feel like that's almost a product of a kind of terrible capitalist mode of thinking in which everything is product-ized and thus you must always have a 'new and improved' version of the product. In other words, no movie can be made in a traditional style.
Figurative painting is another equivalent.
For me, all I ever tried to do was to make a picture which was the most exact transcription possible of my most intimate feelings and impressions. It's a generous sort of sepulchral murk that never becomes gloomy or doomy. I mention a few cinematographers. Or the images of Carlo Di Palma. There is a party where the scene's basic emotions are elevated by a drenching, but not soppy sadness.