Once Wofford had the outline, the script was finished in less than a month, then workshopped over the next four months while working on pre-production. It was during these workshops that Wofford found Lauren Gleason, an actress who attended the group weekly. Her cold reading of Clarissa was gutteral and complex.

Robert DiScalfani was the next to sign on. An old acquaintance of Wofford's and a talented still photographer, Robert was amongst the first to read the later revisions of the script. He signed on immediately to direct photography, and became one of the driving forces that made the project possible. Robert's colleague within the world of photography then introduced John Loughlin to the project, whose care-free charisma as our only gaffer helped maintain the family vibe Wofford was striving to create.

Wesley Wofford, Wade's elder brother, was a shoe-in for make-up effects from the very start. As a matter of fact, were it not for access to Wesley's abilities, the script likely wouldn't have taken the course of climax that it does.

Wofford acquired all of the 90+ locations himself, with the help of his wife, Catarina - whose roles were so multiple during pre-production and production that she earned the title of AD.

One of the greatest challenges of the shoot was acquiring an art gallery for the scene where Tobias and Clarissa meet. At the time of authoring, Wofford had access to a gallery through an acquaintance's boyfriend - but the relationship ended shortly after production started and the bridge was burnt. It took the film nearly a year after principle photography wrapped to locate the location and finally shoot the gallery scenes.