Kwong: Ok, so with the collaboration of a team, you have the designer, you think about the lighting designer, and again someone you may have worked with or not, also you then as a director already have a certain idea of mood, of setting you know, and then you communicate that over to the lighting designer. They will have their own ideas, so then you can have a dialogue you see. And often they do refer to you, for the time of day, that' s really important and you almost have to make that decision for them. I mean it comes from a script of course, but sometimes if the script doesn' t say it, I mean like this one for example doesn' t, it says in the evening but that' s for the whole play, but when I split it up into three sections I can start having different times of days, and so I have to make that decision and I leave them to make it work for me. And sound, again you have a feeling inside you, the mood, the feeling of a scene. Same thing, you communicate that over to the sound designer, see what they come up with. Often I' m very particular, very particular with the sound and light, extremely particular, because that is so important to the mood, yeah.
FREE TALK: The second in a series of screenings programmed by our Exhibition Road artist in residence Jamie Jenkinson, this screening looks at the relationship between movement and colour in artist film and video.