If you took a stop-action series of photographs of Gillian du Point’s acrobatic stunts – in the manner of Eadweard Muybridge’s nineteenth century experiments – she would not appear for many of the shots. The problem is not with the technique – though it would be easier with the high-speed movie cameras used to photograph explosions – but with the subject. Vampires are notoriously difficult to film. The very best equipment is based upon optical science so advanced that, like ghosts, it doesn’t believe in vampires and refuses to register their presence. The operator, looking through the lens, sees nothing until a tap on the shoulder alerts him to the presence of the most exquisite woman he’s ever seen. Only then does she tear his throat out.