Working linearly with a script creates a feeling of resignation in me; it’s as if I feel I have to stick to the linear narrative. When I realised this I lifted those parts I consider essential to my film from the script and my journal and listed them in no particular order. Since my film is about place and memory this way of working connects with the fragmented way memories push their way into consciousness. I like, also, that I have these elements I can collage with. I get a sort of childlike pleasure from collaging: with paper I like to rip, rather than cut, and I suspect that a later part of the filmmaking process will see me tearing this piece of paper, separating the elements further, and moving them around so I can see what goes where. It strikes me that the process of filmmaking tends to be self referencing / fractal in that the film’s essence dictates the way of working as well as the aesthetics, narrative (if there is one), equipment, locations, people, etc.