And something else I'd like to show you is this wonderful Bruno Paul furniture, which Karl was obsessed by reupholstered in Karl's fabulous colors, a sort of German, expressionist blue.
Expressionist classics, like Metropolis and Nosferatu, soon followed, using that same lighting, drama, and, of course, Dutch angles—this time, using the camera to tilt the scene instead of the set.
The piece marked out a whole new way of creating for the artist and represented a complete break from the previous decade's Abstract Expressionism - think loads of splashes of paint.
Then it broke into thrillers, specifically Hitchcock's thrillers, like The Birds, Strangers on a Train, and the lesser-known The Lodger, which, the man himself said, was heavily influenced by expressionism.
It's kind of contradiction, right? Cause it's very expressionistic, but at the same time when it was actually done, it's very restricted, you couldn't make wrong.