When Shane and I talked about the film, specifically the edit, we always talked about a clarity and ease in the flow of the film. You could say we didn’t want the film to be distracting and this was also the case in shooting the film, where all too often the film becomes about the jib-arm or the dolly or whatever. We had a small budget and we didn’t want to unnecessarily show it, thus we couldn’t approach the film like we were bigger budget—therefore, no elaborate or even painted sets. The discussions about the look of the film, the style of the shoot and of course the edit all took place before a single frame was shot. What this meant in terms of the edit was—and this is all to Shane’s credit—we have a great edit because it was shot great. I feel this was achieved because we found the rhythm of the story and the characters early on and we stuck with it trusting it and shaping it from the moment Shane called “Action” to picture lock; this was possible because Shane was able to maintain a direct line in his head to the edit. More than any director or musician I have met Shane is focused, almost obsessed, on the nuts and bolts that hold a story together and that is what holds an edit together…not a neat dolly shot—it’s the story.