already mentioned, a lot of the scenes where shot at places we discovered while we were exploring the city. (For example, at 2.am in the night when we where originally going out for karaoke and drinks.) This strategy resulted in a lot of material. We have been deeply fascinated by your original approach to cinematic time and space which subverts traditional notions of dramatic tension. How did you develop the visual structure of Tokyo exchange, its deleuzian flux of perceptions? We wanted to explore repetition and create a sense of something zen-like, almost meditative. Editing the film, we wanted to keep this meditative feeling, this on-going interaction between the women as steady as possible, and then the scenery / surroundings and soundscapses could change quite dramatically without compromising the ongoing movement.
We also wanted to explore movement, for example the elevator scene, the camera is circling the women, while the elevator is going up, at the same time the yolk is in movement, it’s also moving in a circle, so there are several movements in different directions at the same time. This creates this sense of something hypnotic maybe. Matilde, can you tell us how your experience in dramaturgy has affected the creation of Tokyo exchange? Characters are often the main movers of the action. If you have characters that develop a lot you have an action packed film. We wanted the scenery to be in action, and characters that where not. Whether it`s a busy or quiet place, or women are alone or together with people, they stay the same. It`s kind of like being in love. Nothing else matters. Like we talked about earlier, the film is in constant movement and it also moves from day to night.