Thierry De Mey filmed Rosas danst Rosas in the former technical school of architect Henry Van de Velde in Leuven. The film version is much shorter than the show itself. In his film Thierry De Mey opts for a heavily ‘inter-cut’ version in which, apart from the cast of four dancers from 1995 and 1996, he also has all the other performers from the long history of the show dance along. He makes maximum use of the geometrical and spatial qualities of the Van de Veldes building. Incidentally, the building was thoroughly renovated straight after the film was made, making it one of the last testimonials to the original architecture. The film was shown on all of the major European television channels and also had a cinema career in the ‘art house circuit’.

A comment on Sophie's remark that the filmmaker doesn't even use his art to 'tell us a story'. Thank god! There is a fundamental difference between telling a story in film and in dance; in film, you construct sense by cutting, by 'montage'; in dance, you positively destroy sense by montage. All the sense is in the sequence and use of space as defined by the choreographer. If you like, the choreographer has already done the montage. Hence the only way to film dance is from a single camera angle, or at least, with minimum change of angle. Of course, a director and choreographer can choose to cut the filmed version, but presumably they'd do that on the principle that the filmed version is not in the least trying to be like the live version. Both are fine, but if you want to see something akin to the original, best avoid the director's cut.

"One Flat Thing Reproduced" was created in Frankfurt in 2000. This work of great scenic intensity oscillates between disorder and symmetry. "One Flat Thing Reproduced" starts with an outburst: Twenty tables are thrown on stage. They become the surface and the horizon of all the action. William Forsythe associates with a very great dance director, Thierry de Mey, for a totally cinematic work. Shot as in an action movie, alternating still shots, tracking shots, frozen frames, uncommon angles. He extends and reinvents William Forsythe's choreography to create an original work.