In my role as Director of Photography and Co-Director for Some Like It Hot: Redux, I am responsible for translating the cinematic language of the original film into a live, multimedia theatre format. This begins with a meticulous breakdown of the film—scene by scene, I log timestamps, identify every type of camera shot (static, panning, tracking, handheld), and categorize each one to reinterpret them for the stage.

Our redux involves three interconnected stage areas, each representing a different location or moment in the narrative. We use three live cameras, which feed into a single output screen, effectively recreating the visual flow of the original film in real time. One of my core responsibilities is to decide how to substitute cinematic shots with live camera movement, often involving real-time switching between cameras, and sometimes substituting actors with doubles for seamless transitions.

At the same time, I work closely with the performers to choreograph their movements across the three stages, making sure their positions align perfectly with what the camera sees—since everything happens in live time, there’s no room for error. It’s a constant negotiation between the visual storytelling of film and the spatial, temporal demands of live performance.

This redux challenges the boundaries of film and theatre, turning the process of filmmaking into a live event. In doing so, it asks the audience to reconsider what it means to 'watch' a film and what gets revealed when the act of directing becomes part of the performance itself.