Most people can relate to how differently memory can manifest itself compared to the actual experience. In my experience this becomes even more distorted with dreams as they are already a kind of displaced reality. Remembering a dream or trying to restage it can be very complicated and can easily strip the image of its charged state and emotion rather than bring out what the imagery touches on. To realize the true time-pressure I had to resort to my movement practice where the storage space had been explored but to find a way of incorporating it into the film process. 

For the scenes with the clothes I decided to do this by shifting to working with a steadicam which meant that I was able to circle in and around the image and move with its rhythm (fig. 12, below). Instead of directing my performers through the initial concept of a restaging, I asked them to explore their own relationship to the state I had created through set dressing and by playing the soundtrack I had made. This became a way of meeting with the original dream storage in that present moment of shooting through my movement practice and felt sense of time.