in on the action. I’m looking forward to exploring this more in the future, and further cultivate my vision in this medium. We have been impressed by your characteristic use of colors reminiscent of Aronofsky's cinema. What were some of your aesthetic decisions? When planning the film shoot, I initially was counting on the grey skies of Manchester to create a more somber atmosphere for the film. I had even planned for alternative shots in the event of rain. But nothing planned ever goes as imagined, and the day of filming ended up being the first warm and sunny day of the year. I decided to use the sun to my advantage. Instead of grey-ness to help convey my intention, I sought to over-saturate the colours in the film. I wanted the brights to be almost blinding, almost a ‘blow-out’ of feeling, of worn-ness. I wanted it to reflect the sensitivity of sensesaturation. Feelings so acute and bitter that
when you consume them they are spat back out, and intensified. With the sun I also had the chance to use rainbows in the space, which was an unexpected but welcome addition, which I think adds to not only the sense of movement during still moments but to the fantastical elements of the film as well. Most of my other aesthetic decisions came together in editing. The duality of layering the shots onto one another; having them drift in and out of each other as if a train of thought or consciousness. The pasting of interior shots on exterior objects, calling you to question which image is the one actually in focus, which world you are actually inhabiting. Sped up action as if a glitch had infected the self. The editing is simple but effective, and allowed me to explore the dissociation I felt. What was the most challenging thing about making your dance film? For me, the most difficult part of making Visions was the events leading up to the