While they all have their individual characteristics as dancers, they come together and they move as one. Seeing the piece, it is the right thing to do because fundamentally they move as a unit. But one of the first conversations I had with Stina was that we need to see the choreography: we can’t get too close. How did you develop your vision and your creative approach for the film? And other than the choreography, what other sources of inspiration did you draw from?Īs a director I like to be close and intimate to people.

I didn’t know at the time how much I was asking of the dancers and I needed Stina to tell me how much I was asking. But also, something that felt creatively interesting. I was just walking around the room during rehearsals and that’s how I came up with the plans to walk the space and film it the way I did.ĭuring filming, I was asking a lot of the dancers because I was trying to make something that gave Stina every possible option so that we weren’t ever stuck. It needed to feel a little bit more immersive than that. I knew that everything needed to be seen from a more three-dimensional space, not as though you’re just sat in the audience’s seat and looking at it from there. And that just makes you want to do things a little bit more.

I just felt like I was in the room with really good people. So, I agreed to go in and see the piece and meet Stina.Īnd to be honest with you, aside from the incredible work I saw immediately, what actually drew me in was Stina, her warmth and her personality. I didn’t know what to expect coming in or the personalities that I’d find, or whether it was the right thing for me. I’m a working class kid, and my preconceptions of ballet… it is all quite alien to me.

Take five movie