The classic Hollywood dramaturgy is an almost mechanical structure. In film school it was Act 1, Act 2 and Act 3 with very clear rules for what would happen in each part. After understanding the mechanics, it is very difficult to find films that surprise.

Many action films are somewhat banal in their dramaturgy.  Others play on expectations and turn the structure inside out, like Memento, where the main character's unique personality drives the dramaturgy. But you can't exit the structure, the expectations from the audience. 'Once upon a time...'"

The Western 'Hollywood dramaturgy' is hideously successful, creating a global US influence, primarily through Disney's fairy tales - all storytelling is based on how we live. It's no coincidence that we find Disney's characters from the movies having a McDonald's 'Happy Meal' globally.

Our stories guide us in reality - they empower and empower. It is our culture - how we live together - that stories manifest.

Evil and villains, a hero forced to do terrible things for good. The ends justify the means, or was it... our Judeo-Christian values have a constant battle between evil and good.

No wonder, then, that the Eastern stories have a fundamentally different set-up - a different dramaturgy, underlying philosophy and idea.

In the Eastern dramaturgy we find the four-part Ki-shō-ten-ketsu and Jo-ha-kyū, which roughly translates as "beginning, break, rapid"

I began to understand it all with the help of Mono no Aware. There is no direct Western translation; it is a feeling, a way of approaching life, with a reverence for the ephemeral. The pathos of things.

Anyone not raised in a culture with a sensitivity to mono no aware will have trouble absorbing film, theatre and literature. We look for the hero, the villain and the threat, but we rarely find anything so unequivocally simple in films.

Japan's Studio Ghibli somehow managed to smooth over the Japanese storytelling tradition so that even 'Westerners' could embrace it. The result was a number of magnificent anime films; Castle in the sky, My neighbour Totoro, Princess Mononoke, Porco Rosso, Spirited Away...

I think we've had enough princesses and tough guys with automatic weapons. Another bank robbery, another love story with betrayal and forbidden passion, another evil organisation that wants to enslave humanity.

Now we're looking at new ways of telling the story, and I'm pretty sure that a calmer reverential approach around mono no aware offers a way forward. There are films that have already been tried with great success; Bladerunner, The remains of the day, Amelie from Montmartre.

One of my absolute favourite films is Never let me go based on a short story by Japanese Kazuo Ishiguro and masterfully narrated as a film by screenwriter Alex Garland - who also wrote the screenplay for Ex Machina.