Jacq Vogelaar and Frans van de Staak cooperated in a sort of struggle between language and film: their perspectives are different, even exclusive. For Vogelaar his primary preoccupation with language as a novelist is anger, and rebuilding its expression as an individual fixation of the embodied space, whereas for Van de Staak as a filmmaker language is embedded in the activity of making film, which goes beyond any linguistic fixation... "The actor's unintended gestures, manner of moving or change of bodily position, is as important as the text he speaks -all that has to be on the same level of significance, and by doing so it becomes meaningless, because only then it dissolves." No one scene [except the first] 'exists' in advance, fixed in a script, but each scene was created and realized in reaction to a previous scene, which was then screened after its recording. As a result of this 'domino-method' the scenario was written after the making of the film, which took one year.