J.Stafford : You have worked around dancers for many years now, when did this passion first start? ’

J.Sutton : My Mum was a dancer when she was younger and my Dad’s paintings and drawings often featured dance so its something that was very much around when I was younger. Apart from that I just feel naturally drawn to dance and movement in my work. Its just one of those things that I find exciting.

J.S : You move from the basement of Opéra Bastille to the roof of Opéra Garnier during the film. Had you worked in this kind of decorative  location  before your heard about Benjamin Millepied’s project for the « 3ème Scène »  ?

J.S  :  It's  a great project because the Paris Opera has such a rich resource for film makers to work with. I was given a tour of Garnier and Bastille at the start of the project even before I had started working on an idea. I didn’t know about the space beneath the stage in Bastille, but liked it as soon as I saw it. I thought this worked well in contrast to the more well known and beautiful baroque features of the building.

J.S : For « Ascension », you worked with two young and talented dancers : Hannah O’neil and Germain Louvet. What is like to direct this kind of classically trained dancer ?

J.S  :  Both dancers were an absolute pleasure to work with. They are both exceptionally talented and their attitude and focus on the project was perfect.