The project began with four characters to finalize itself with seventeen.

Following auditions and rushes with certain actors, I witnessed their genuine interest in this experience. I then decided to integrate other characters to feed the movie and make it more alive. In fact, after much efforts and tenacity, a wave of creation settled in and I just had to follow it, while remaining attentive; this becoming the organic materialisation of the shooting process. Availability, understanding and presence governed my directing and it presided over the actors in their work.

All those reasons pushed me into inventing "the Canadian Arm". I had difficulty in filming tall actors since I am only 5 feet tall. At the time of the shooting, I discussed the scene with the actors and gave them certain instructions concerning their character, the topic of the scene and the goal to reach. In fact, all depended on their own creation and their personal investment in their character. Everything that was generally not allowed in cinema was possible here: "Overlap", turning your back to the camera, unforeseeable displacements, all those things which made this film very alive and the play very natural.

My basic training came from the experimental theatre (Grotowski) where the actor’s presence and his own truth are the engine of his work. I preserved and developed this way of doing, either in the workshops or the plays I directed, as well as in my scenarios which were written, above all, for the actors.

It was thus obvious that for this film, the cinematographic technique was put at the service of the actor, in order to give him the space and freedom necessary so that his truth can emerge and be expressed.