A film set in a 2008 broadcast studio was inevitably going to be challenging to find a visual grammar that served both the narrative and aesthetic requirements of this story. Thorough collaboration with gaffer Viviane Waters saw decisions to use the studio fixtures, bizarrely, as practical lights. This presented lots of challenges, but more importantly, opportunities; ways to shape the light in a scene in exactly the way one could imagine it falling, yet blending the perfect balance between that and evocation of emotion through contrast. The camera used the dynamic lines between characters as its fulcrum for pivoting around scenes, with deliberate exclusion from traditional rules creating a disjointed and confusing visual around Dean; a direct correlation with his tumultuous headspace through the story.