The manuscript was written as an "audio film;" a narrative consisting of voices, sound and music. I wrote the text in such a way that it would work as a cohesive narrative even if there were no images at all; a kind of audiobook for the cinema. Liberating the images from the audio made the filming less expensive yet more responsive to actual circumstance. We planned the shooting to give us the greatest possible flexibility. We worked simply with a small team; this way we could plan carefully but still be free to develop the expression.
In order to get a clearer sense of the film, I edited a 75-minute-long black film that followed the script. I used the test recordings we had made with actors for the audio, and I also used some of the tests I had recorded with my own voice while developing the manuscript. The technical quality was poor and the acting unrefined, but the recordings worked as provisory raw material. That black audio film ended up being the map we used throughout the entire production. The temporary recordings were gradually replaced with real scenes, and the black film was "filled" with images as we created them. I rewrote and recorded and rewrote again.
Doing this gave me the chance to bring the film into the editing room and reflect before each new period of shooting. The script was not intended as a manual to be followed to the letter: the project was to be guided by the rhythm of its own making; by the rhythm of the black audio film. The aesthetic transformed throughout the entire process.