A proposal for a formal approach - II

I just managing to keep my two projects together in my head.
From the editing of Reconciliation I have been pushing along of my formal principles: limiting dialogue to the absolute minimum. By dialogue I mean an exchange of words between two characters, and that these words act as a narrative element. In Reconciliation I have a character speaking on the phone, but we only hear his part of the conversation, and the words are not a narrative element.
I have been encouraged how far I was able to take this. The short film now has two lines of dialogue.
Of course it comes down not having a narrative that needs dialogue to support it. In my last draft of Tidal Barrier I had these long dialogue sequences between Sophie and Claire and absolutely hated them. Now I am starting to see what is essential in the these scenes and I am able to comfortably excise the rest. The characters may have words, and some of it may come to dialogue, but the minimum. I have found I am able to reduce three-pages of dialogue to a sequence of shots, and one question. In these sequences I have found freedom.
And more, the end of dialogue has meant that now I am better able to see how sound how can shape the story in a fundamental way.
My last great insight from Reconciliation is about the blackouts. For next time.