All my work in the last five or six years has concerned itself increasingly with the condition of the spectator.
Without making the development seem too consistent, too programmatic, where After Manet concentrated on the spectator's construction of space and Blackbird Descending focused primarily on temporal construction, Emily attempts to bring out the problems of identification. The film revolves around a primary cinematic problem of the psychological space moved through in the spectator's attempt to construct the film's relations.
As a psychological 'space' my own tendency as a filmmaker to locate a film's 'materialism' within the physics of its time and space has been greatly stretched by this project. In one sense, the film attempts to isolate a moment - which exists outside of space and time the moment in which the point of attention shifts or is shifted in expectancy. As this moment is intrinsically fugitive it is constantly prepared for observation and constantly missed in the rapidity of its transformation, its deflection to its apparent object. - M.L.G. London Filmmakers' Co-op Catalogue 1997.