Permission was a chance to work in a quieter register — close-up, dialogue-driven, lit almost entirely by practicals. We built a soft, near-tactile palette around the apartment as a character of its own.

Director Brian Crano and I planned every coverage cut as a single moment of negotiation between two people in a long relationship. Lenses stayed wide and close, the camera moving only when emotion demanded it. The film premiered at Tribeca that spring.