Most editors are given a list of all the best takes before beginning their work. My beginning was no different. However, these takes are often based on dialog. I soon discovered that, as the combination of gestures and subtle nuances added up, so did my need to search beyond the chosen material. I had to map every frame, meticulously, in order to see every nuance that could be possible. In many ways the biggest language of the film was neither English nor French; it was body language.