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coach crossbody handheld shot that will become the film's opening retrograde sequence.They're also establishing the basic framework for a relationship that will last throughout the weekend: a relationship of, let's say, good natured contentiousness.As a longtime choreographer, Lyn has come to see the process of working with her dancers as an essential part of the composition process. When she walks into a first rehearsal, she knows the choreography she already has in her head will go through a thousand variations and edits based on the abilities of her dancers, the limitations of the space, and any number of other artistic variables. The more information she comes to the rehearsal process with, therefore, the more choices she'll have during the inevitable editing or "chiseling," as she calls it of the piece.Which is how she looks at directing, as well. She knows nothing about the people she's working with their skills, their adaptability, their desire to experiment so she'd rather get as much of them on film as possible and do the real creative work in the editing room, where all those possibilities will be there for her to explore and where she can really determine what exactly she wants her audience to see.This philosophy puts her at odds with Robert, her director of photography and equal in stubbornness. Unlike Lyn, Robert doesn't place much value on the editing process. His works brilliant and original video installation pieces that involve him setting up a camera on a tripod and filming himself improvising movements based on broad concepts like "floating" and "disappearing" against a pre