'I wanted to get to the emotional centre of the piece in cinematic terms. I've photographed it to look like an old Victorian coloured photograph. So when each character leaves, she dissolves into darkness like an old photograph fading. I wanted to find a cinematic convention analogous to Beckett's stage directions. He doesn't bother with simple entrances and exits. He never has anyone going off to make a cup of tea. They just disappear. They don't go anywhere – they're simply absent.

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'There's a great compression and density that Beckett achieves in these incredibly compact pieces. It's phenomenal. I think Come and Go is a perfect piece of writing. It's all of seven minutes but what he compresses into that is three lifetimes full of sadness. Three old women projecting themselves back to the way they used to feel as children dreaming of what it'll be like when they're old. It's almost like a hall of mirrors. How can you hold on to the way you felt then, as you project yourself forward?

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