Step on Silence was made from raw material from Peter Martins - en danser but unlike the traditional way the Martins film communicates its material in this case we have a film that with its slightly dusty, scratchy appearance makes room for all the shots originally discarded for technical or narrative reasons. It fades to black and up again if visual material is lacking at any given moment, for example, while the continuity of the soundtrack is maintained. The establishing by the cameraman of a new frame or focus is not edited out for the sake of appearances. The painstaking repetitions from the rehearsal room are captured by showing several takes of the same detail from the dance one after the other. Leth’s notes in white handwriting on a black background serve as small, conciliatory transitions from scene to scene. Step on Silence this gives a uniquely free, very loving treatment of the work of the New York City Ballet’s creative workshop as a counter to the “kill your darlings” philosophy of the film world.