After the joy and flirtation around what might or could happen (as seen in Cube), Scott wanted to explore how the memory of an actual touch might return.

"It all begins with a quirky, silly section where the camera is used as the frame of a mirror and various people enter, check their appearance, and leave in surprising ways. But then it turns, and the focus becomes much more intense.

This section is inspired by the film Don’t Look Now by Nicholas Roeg, particularly a scene where a protagonist is remembering the intimacy of a romantic moment with their partner from hours before. They are getting ready in a mirror and each touch of their own face reminds them of the touch of that lover.

I wanted the scene to take an intense and visceral memory, have it unpacked and then firmly locked away again. To have that complex memory unleashed by a single touch and then held as a secret."

This is the fifth film of six from Touch and they are presented in a different order within the original film. (This is actually the last section of the full TOUCH film). Scott wanted to have a bit of fun with this one and broke his rule a little. We had the cube made rather than finding it in our store!

"Again, I wanted to explore the potential of touch in our minds, to present a scenario where thoughts of touch, connection, fun and romance must sit hidden beneath the surface. I wanted to take the viewer into the minds of those within that repressed environment and have those fantasies explode joyfully.

At times the cube suggests the confines of a lift but at others it lifts and transports us. It could provide plenty of opportunity for spectacle and dynamic physicality but working with the camera allows you to make tiny moments just as dynamic, be that a fleeting moment of eye contact or a brush of skin on skin."

All the Touch films were lit by designer Matt Whale. Matt brought so much to the collaboration and managed to make a small studio look epic. At times it is beautiful and at others it is terrifying. It is a real achievement!

Having made several sections about our desire to touch Scott realised that he was missing the elephant in the room and, this being mid pandemic, people were actually terrified of touch. It was on people’s minds more and in different ways.

"I wanted to try to make a piece that was more about how we think about it. How panic might arise in public spaces. How our space became precious and we became edgy.

It was created simply and quickly and consists of long single takes and one section of choppy editing. As ever, with this long single takes, the choreography of how you move people out of the camera shot and into the correct place for the next interaction is hugely complicated and challenging. It is also a lot of fun and is a movement pice in itself!"

Scott was fascinated by the lack of contact between a couple, possibly after an argument but certainly the complexity of those unsaid moments: "The title comes from an old Peter Sarstedt song, that begins with the line ‘Where do you go to, my lovely, when you’re alone in your bed?’ It was about fixating on all the possible thoughts, dreams and ghosts in a partner’s head. To me that communicated an abyss between people even if they were incredibly physically close.

I wanted to create a piece that was full of heart breaking near misses where they nearly make contact and could possibly reassure each other that everything was ok. Instead it is a small world of hugely insecure dreams."

Where Do You Go? also involves an incredibly simple but very effective visual technique that the accompanying behind the scenes film lays bare!

Scott Graham explains how this film began merely as a warm up to get the performers used to working together but quickly morphed into something more meaningful. It became about the people who pass through our lives. Those people whose proximity either thrills us or makes our blood run cold. Their power is either fleeting or stays with us.

It was formed by creating simple duets and then linking them. The camera allowed us to really focus on the quality of each touch and the effect it had.

Director Scott Graham talks about the genesis of the idea behind Zilk and the discoveries made along the way when creating it.