But I do want to use this space to focus on something that probably isn’t visible in the book or the short film. What is remarkable to me about many Tara projects is the spirit of collaboration that lies behind them. I think this commitment to genuine dialogue finds a way of seeping through into the pages of the books, but it’s perhaps not always obviously tangible. Apart from Mayur and Tushar, many others at Tara – including editors, designers and producers – played important roles in the conception and realisation of The Deep. The process involved lots of negotiation and iteration, based on what different people had to contribute at various stages. At the centre of this process are relationships built on mutual trust and respect, which allowed us to push the project as far as it could possibly go.

When making several of the short films that accompany Tara book projects, my aim has also been to enable artists and artisans to be able to speak for themselves. I do set out with an agenda to explore their lives as creators, and to extend and expand the world of the book in doing so. We come with some ideas and questions, and with camera in hand – and then chop, edit and shape what is recorded – but my hope is that what emerges is not just about them, but equally by them. So the picture that emerges is as much theirs as it is ours. Not imposing an external voice over, but instead allowing the narrative to flow from the perspective of the ‘subjects’ is, I think, an effective way to mirror the creative process that is essential to the books. Looking back at the processes behind many Tara projects, what emerges for me is a commitment (that is often unselfconscious) to changing the perspective from which stories get told.