'I started to develop visual ideas that would relate to the words—moments that would spring up unexpectedly as he spoke but would feel like "in camera" moments, like projections on the floor or on the wall.'

Murray Butler - Director, Framestore Pictures

With constraints on time and budget, Framestore used darkness as the canvas instead of set builds. The performance of the actor was key. The actor had a theatrical background but was not someone who made his living appearing in TV work. 'There was something raw and authentic in his performance that felt more compelling than the other actors', states Butler. 'As he was in pretty much every frame, we had to believe in him 100%. We were lucky to find him.'

All of the visuals were concepted prior to the shoot, and achieved through a combination of practical sets along with composited elements. 'The work was predicated on working with great artists here at Framestore - such as VFX Supervisor Karch and Designer James. Both took the original brief and injected their own creativity and artistry into the piece, working before production so that we knew exactly where we were headed', continues Butler. 'Wyatt Garfield was also key as the DP - knowing what he can do combining light and shadow encouraged me to drop any sense of set dressing, and let the piece be all about lightness, darkness and what’s in between.'