"You should be at the bottom of Advocate's Close looking out at cockburn Street with your book to the steps. There's a dumpstere in front of me right now or a skip as they call it here. This should be your right ear - and this should be your left ear." - I reakky like the idea of the viewer having to collage the scenes together and make meaning. What were trying to do is show different scenes , and different charactersa of scenes and then by the time you get the end you have all these scenes in your head as a viewer and perhaps you remember some of them or just pieces of some of them. Its sort of the way when you wake ip un the morning and you recall a dream. And i think that dream structures is very very important. And i think surrealism has always been really super important to us. - I think it's like choreography , the walks. How we choreograph them is by shooting a lot of test footage and then we go, okay we need... we see something happen in certain scene and then we say we want that to happen again, so we get the extras we need to redo that. - We plan taht we can go through spaces that affect the person's body in different ways. Like a narrow alley will make you feel a bit weird and then an open space. It's like if you're making a drawing you want texture, you want a certain type of line and then you want darkness, you want light. - When you're working on an edited piece like a walk, invariably fifty to seventy-five percent of the script gets thrown out because it just doesn't always work. And so, Janet writes way more than we need usually. Well, it's pretty hard because what happens is, we do visit the site, and I respond to the environment, and I start writing things. And then, I visit again and take that script onto site, so some lines, when you're voicing them don't work at all. And then, when it's starting to be shot, that adds another layer that you figure out intuitively if it works or not.

Really cool