My first instruction to Camille, some days before and in the presence of her sexy friend Natacha was to train herself to keep her face in a "frozen" position, including her eyes. One scene was that of her dead body rolling down a hill, she was to land at the bottom and had to keep her eyes open, her mouth gaping, and keep it like that forever.

We were in my bedroom, sitting on my bed, all three of us. Camille laid down, placed her face sideways, her eyes open, her eyeballs rolled down to the extreme side of her face. She stayed like that, holding her breath, for a nice long time. She got the idea.

The time to do that in this session was approaching.

I don't know at this moment if there's a distance between me and Camille. I don't know how close she feels to me or if she feels close at all. I sense that she does. At one point we were in her bedroom, talking and I wanted to grab her and fuck her. And I felt that she was feeling the same way. I could even sense a nice odor coming out the too of us. Something primal, they way animals must feel when they are in heat.

But we're humans and have self control, so nothing happened. But that was an indication to me that something could happen and as she hanged in front of me, almost naked and tortured, I was hoping that if it had to happen, it should happen this evening, seconds after I turn her loose.

Camille, unaware of my growing desire, rolled her head down, her mind loosing itself in a dark void.

She hanged there, as if unconsiouss, for quite a while. I kept the lens trained on her, recording every milisecond of this action. She raised her head again, but just to let it drop again. I was sure she was hoping this would be it, but no. I still have more to do.

In the film this scene was going to be short but it would appear a number of times in flashbacks. I was going to shoot the sequence of her torture and killing in its entirety, just to use a few shots, the best of the best, during the film. The shooting wasn't going to last as long as this session was lasting already. But it was important to complete it. It was giving me ideas as well. It was serving as a blue print of the choreography I was going to use to film the escene.

The choreography of torture. I began trying situations with Margot, we worked scripted scenes, at least six different times. The choreography we used served me well when I put Marie to the test, it also served well with Rosie and it was serving well now. But it was not good enough yet. Not for the big project. This scenario wasn't too complicated. The big project was.

In the big project the character is crucified. Her hands and feet are nailed, her body is whipped. That was important to me. That was the work that I began with Margot, that's what I tried to start with Marie and Rosie... and that's what I was plannind to work with Camille. To create the best choreography for a crucifixion.