Some years after filming AMOR, I returned to Italy and found the source for a new film in the architecture of Borromini and in a grove of trees with empty birdcages. (A grove of trees, a rocolo, in which hunters would set out cages with decoys, called richiami, whose song attracted other birds.) The buoyant spaces of these cupolas, the sewing of a buttonhole, and the invisible bird hunt are all elements in the sustained dialogue of The Hedge Theatre.
