'Yes, we can!'
"Honestly, everything that could go wrong went wrong. The shot list was too long, problems with the delivery of the main prop, rain at the time we had to do the outside shoots, a location that had forgotten we were going to shoot. You name it and we had to deal with it. Still, the ambiance on the set was great! For me it was one of the most important things during the shooting days to give everyone the space and to give everyone the feeling that they were very much appreciated. This created a 'Yes, we can' spirit, and everyone went the extra mile to get everything on film."
"Working with the actors on the set went very smoothly. Even though we didn't have much rehearsal time we talked a lot about the characters. And we were on the same page when we arrived on set. It was a matter of communication to get into these emotions and needs for the character for every scene just before the cameras started spinning. Because of the mutual trust, it was easy to free up the actors in their play. On set, it felt like a safe environment where we were open to each other's suggestions, and where the actors had enough space to dive deeper into their character."
"Felice Smith was our first AD and shepard in this chaos. The decisions that were made were clear and straightforward. If the long shot list was not achievable, Coen came up with the solution. If we got stuck for a moment, Ivo Bemelmans got the time to make extra sound recordings. Nevertheless, it was a long run, the days were tough. But it was worth it!"
"Ayşe Remmler gave life to the film in the editing. No idea how she does it. To my great surprise, a 13-page script turned out to be a 35-minute film. Frightened by the length we went back to edit it to a film of less than 20 minutes. But we noticed that the shorter length did not do justice to the story. The script and the story are put together like a puzzle. This made it difficult to cut the film all the way back without losing any pieces of the puzzle. In the end we had to lengthen the film again so that everything started to make sense again and the viewer got the information he needed to understand the story."
"Jurriaan van Dijck, my sound editor/mixer, made this picture even more complete. He intuitively managed to give the scenes even more suspense in the field of sound design. How he gets it done is still a mystery to me. But he opened my eyes to how important sound is for a movie."
"I did most of the research on the soundtrack. I had specific plans for it. I worked together with a hiphop/techno producer named Joel Weiler. Since this was his first film score we had a lot of conversations about what it should be. I wasn't very pleased with the first draft he sent me. Luckily, after some clear communication, he made a second draft that precisely set the tone for the story. Full of musical illusions and psychological tricks. We used this version right away."
"The grading was an essential element for this film. The grading does not only create the atmosphere and tone of the film, but also tells us where we are in the story. As mentioned before, the story takes place in several timelines. To make it less confusing, it was very important to make the grading so different that it was immediately visible to the viewer where exactly you are in time. The present scenes went as easy as that. The flashback scenes were a bit more difficult. Because of the unique perspective, we went into an extreme in the grading. This was a big challenge."
"Because of Covid-19, now distribution is ticking over a bit. I'm using this time to make a game plan since distribution is also new to me."