The concept of showing action only through shadow has obviously become a bit of a film trope now thanks to film noir, but there’s still something very interesting to me about it, the way it withholds information from the viewer. For me shadows were really my first experience of thinking about light - I have strong memories of being five or six and messing around with my elongated shadow when the sun was low in the sky. That’s really where this idea came from, so Cole and I really wanted to keep hold of a sense of that playfulness and tell a story that’s a bit ridiculous, a bit clichéd, like an elaborate fantasy.
Cole himself was a real dream to work with. The guy is pure talent, everything he puts out is gold. When you combine that with someone who constantly brings an energy to set, even when it’s one in the morning in a giant abandoned leisure centre with no heating in mid-October, you couldn't really wish for more as a director, so big thanks to him and Maria at Tap. Was such a pleasure.
