I built the tension by beginning with longer edits starting in the kitchen (to introduce the characters we empathise with the most first) and cutting to the father occasionally in the other room pruning the rose bush. Then I started cutting down the length of each shot while bringing in more shots of the father as he becomes increasingly more agitated, this should be alerting the viewer that somethings about to happen. When the scene progresses the cuts get rapid and repetitive until the father chops the rose clean off to which I juxtapose with the moment the soup spills; the catalyst for the event that follows.
The match on action cut symbolises Jack’s mounting rage hit climax as he runs out of patience while the soup symbolises the damage he is causing his wife and daughter.
The contrast between the two images is intended to cause unease. You’re introduced to an aesthetically pleasing image: a perfectly bloomed rose in sharp focus with shallow depth of field. Just as it’s chopped, this shot is replaced by the sight of a disgustingly coloured splat going across the floor in slow motion.
Although I didn’t plan this in the shot list, it was something that sprung to mind during the two days shooting. We were always going to have both of the scenes, but intertwining them together in this way was something that happened naturally in the edit.