"I wanted to film on a generic housing estate that could be anywhere in the country, and we ended up shooting in East London," says Caswell. "I created the film with the BalletBoyz - William Trevitt and Michael Nunn - and with only one shooting day available, Billy and Michael worked closely with their dancers to adapt and improvise the choreography into the actual landscape of that estate. "I asked the BalletBoyz to base their choreography loosely on the idea of vultures circling a dying animal, feeling their excitement and anticipation as they gather to feed, waiting for the moment to strike. I was particularly interested in the distinctive head movements the birds make. I thought they would instil a real sense of visual menace. "The central figure of the dying man is inconsequential; expendable. The ESTATE just goes about its business."

"I wanted to film on a generic housing estate that could be anywhere in the country, and we ended up shooting in East London," says Caswell. "I created the film with the BalletBoyz - William Trevitt and Michael Nunn - and with only one shooting day available, Billy and Michael worked closely with their dancers to adapt and improvise the choreography into the actual landscape of that estate.

"I wanted to film on a generic housing estate that could be anywhere in the country, and we ended up shooting in East London," says Caswell. "I created the film with the BalletBoyz - William Trevitt and Michael Nunn - and with only one shooting day available, Billy and Michael worked closely with their dancers to adapt and improvise the choreography into the actual landscape of that estate. "I asked the BalletBoyz to base their choreography loosely on the idea of vultures circling a dying animal, feeling their excitement and anticipation as they gather to feed, waiting for the moment to strike. I was particularly interested in the distinctive head movements the birds make. I thought they would instil a real sense of visual menace. "The central figure of the dying man is inconsequential; expendable. The ESTATE just goes about its business."

"I asked the BalletBoyz to base their choreography loosely on the idea of vultures circling a dying animal, feeling their excitement and anticipation as they gather to feed, waiting for the moment to strike. I was particularly interested in the distinctive head movements the birds make. I thought they would instil a real sense of visual menace.

"I wanted to film on a generic housing estate that could be anywhere in the country, and we ended up shooting in East London," says Caswell. "I created the film with the BalletBoyz - William Trevitt and Michael Nunn - and with only one shooting day available, Billy and Michael worked closely with their dancers to adapt and improvise the choreography into the actual landscape of that estate. "I asked the BalletBoyz to base their choreography loosely on the idea of vultures circling a dying animal, feeling their excitement and anticipation as they gather to feed, waiting for the moment to strike. I was particularly interested in the distinctive head movements the birds make. I thought they would instil a real sense of visual menace. "The central figure of the dying man is inconsequential; expendable. The ESTATE just goes about its business."

"The central figure of the dying man is inconsequential; expendable. The ESTATE just goes about its business."

"I wanted to film on a generic housing estate that could be anywhere in the country, and we ended up shooting in East London," says Caswell. "I created the film with the BalletBoyz - William Trevitt and Michael Nunn - and with only one shooting day available, Billy and Michael worked closely with their dancers to adapt and improvise the choreography into the actual landscape of that estate. "I asked the BalletBoyz to base their choreography loosely on the idea of vultures circling a dying animal, feeling their excitement and anticipation as they gather to feed, waiting for the moment to strike. I was particularly interested in the distinctive head movements the birds make. I thought they would instil a real sense of visual menace. "The central figure of the dying man is inconsequential; expendable. The ESTATE just goes about its business."