This I refuse to do. A film has to have its own life and not exist in the shadow of stolen parts. Of course I do see many films, and ideas naturally stay in my mind, so everything I witness is probably used at some time or another. But even before shooting Terry told me that he wanted to use the slow movement of Alessandro Marcello's Oboe Concerto, and this music helped me find the look of the film even more than John Singer Sargent. Of course, movies are not paintings and the disciplines are very different.
Painters can cheat with perspective and color and just ignore undesirable objects.
The major thing is that we did move the camera, and that just doesn't happen with paintings. For example, that early scene when the train plunges into a dark tunnel as Lily looks out the window, which reflects her face with the train's steam around it. We built a railway carriage and put it on a shaking mechanism in a studio. We had to resort to old trickery to capture the motion effect, with smoke being blown along outside the window and caught by a 2K with a quarter blue. After dollying in to Lily's face, we panned to find her reflection in the glass.