In making this film, I wanted to investigate a formal device that I had started using in GENTLY DOWN THE STREAM: presenting dreams as text through the form of scratched words which have to be read rather than recreating the "look" of the dream through images. In the previous film, I used fourteen dreams. In BUT NO ONE, I concentrated on a single dream, and one that disturbed me...$游离于梦与醒之间，鱼儿们喘息着被成群运送到市场贩卖，工人们忙着建造又拆毁这座城市的钢筋水泥，俯视马路上两边停泊的车辆和行人。是怎样的不在场证明，导演并未言明。$文本与影像
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