As artists/scholars we are engaged in constructing working methodologies and frameworks which allow us to explore and interrogate the interface between filmic representations of the moving body, spatial narratives and the process of embedding multiple temporal locations. This chapter addresses how we resourced and shaped our performance materials in the making of our recent film project Utah Sunshine.¹ The film is primarily a dance and visual arts film reflecting the current concerns and investigations inherent in our own practices, these being somatic movement and collage-based mixed-media painting.