Yeah, I've tried that. The forest is never just scenery; it’s a conspirator. I set the lens low, let the trees fill the frame, then cut to a slow pull on the shadows—so the audience feels the unseen arrows in the darkness. If you make the light fall just right, the whole woods starts to breathe, and the danger is always just out of sight. Just remember: you can’t rely on the trees to tell the story. You have to make the characters uneasy enough that they’re drawn to the forest, not away from it.