The first time I met Marjorie Chan was a couple of years ago at a performance she was starring in at the Solar Stage. She and another actor, Peter van Gestel, were the sole actors in a couple of Tennessee Williams plays, Talk to Me Like the Rain and Let Me Listen and This Property Is Condemned. I was there at her invitation to check out her work for a short film I was trying to make on a shoestring budget and a dream, and finding an Asian actress for the part was not an easy task. It was my first real film and it would be the first time that I had ever worked with actors. I was dealing with a subject – sexual violation – that required some delicacy and sensitivity, both on my part and on the part of the actor. The film was meant to be a visual film poem, without dialogue, and the storytelling needed to be conveyed in slight nuances – very much dependent on the actor and what she brought to it. I had never seen Marjorie perform before, and as the lights dimmed and the play started, I was elated to find that Marjorie could act. I was excited, and when I met her after the performance we agreed that the film would be something we could do together.