Usually before the shootings you make some kind of storyboard, often by drawing, about how the composition is going to be. But in our case, we didn't want to do it this way, since I felt that the actual locations are always much more inspiring than anything we could come up with just by imagining it. 

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What we did instead: we took a look of the materials I had shot in the rehearseals and after that went out scouting for locations. In location we rehearsed some of the scenes just to see how it would go. Most of the compositions came out really naturally just by following the actors, so there wasn't really a need for a storyboard. (Our sound guy was of course a little worried about this, but he was a really flexible and really spesific about the information he needed.)

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We wanted to make the scenes so that the actors could be in their characters as long as possible. This is why the long-take technique was used to cover up most of the scenes. This way there can be a lot more nyances in the acting, since now the actor is forced to "just be the character" for a very long time, instead of just saying a spesific line or wondering about his/her actions.

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Because we had a very long reherseal period, most of the scenes were in the backbones of the actors. But there's also a downside to this method: the acting might come out too fixed, too "perfect", so to speak. In order to make the scenes feel lively again, we used "secret agreements" (as teached by Judith Weston, in her book 'Directing Actors, 1999'.), meditation on location and sometimes, even just changing some little details on the scene. Because we did it all in one take, there was no problem with continuity.  

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Because of this improv attitude, the shootings included a lot of funny and strange moments. For example, when we went out shooting in the city, there was a moment when two passbyers actually thought we were shooting drunkards just for fun. They tried to grap the camera and said something like: "Can't you see, he's drunk?" Because of this one of our shots went ruined, but it was a good laugh afterwards. They actually thought this was happening, so in a way that tells something about how convincing the acting was.

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The film was originally intented to be a 30-minute short film, but during the shootings we realized that the material was way too lenghty for that. 

I wasn't really looking for to make a film of this or that lenght, I just wanted to make a film where the acting would be fresh and believable. So I didn't really set any limits to anything. It just kind of went into that direction. The film was more of a like an constant exploration process.  

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