Ancient Greeks, who were obliged in their theater to use the third dimension, because there was no way for them to remove it, took care with the masks to turn the eye away from the third dimension and close to the meaning itself, which is one among the reasons that our theater never exceeded their achievements, left, as it was created, in the third dimension. For the same reason the nature of existence will be better understood in a painting and not in a statue, as is evident by the Byzantine icon, but also by the superiority, from this aspect, of modern painting compared to the (newer or ancient) sculpture. For these reasons, I say that the future of cinema as an art of meaning is not in the three-dimensional technique, but only (perhaps) the future of cinema as entertainment or documentary.
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