In "Music for Four People", The artists decided to adopt and adapt some of the 1960’s Minimalist composer Steve Reich's compositional tactics, taking his use of the repetitive process in a different direction, particularly the idea of total sensuous-intellectual involvement with the work. Melvin decided to set up a visual process based on Reich's "New York Counterpoint" and "Music for 18 Musicians". In the manner that Reich provides his performers with rules or constraints for his process works, Melvin also provided his characters with a structure. The performers were asked to hold facial gestures, whilst simultaneously recording themselves. When they stopped the camera, they were directed to change their expression, hold it and record once more. Their facial gestures were natural, moments of reaction to the pieces of Reich's music they were listening to. The result a sort of musical, animated portrait. The artist believes his characters to be both performer and listener at the same time involved in manipulating themselves to the music, whilst being completely in control of the footage they were producing. In the same way that Reich's performers imitated machines like the phase shifting pulse gate, the music played to the performers offered a rhythmic, musical structure to base their movements upon. What can be seen in this piece is that when the performers change, the details of the music change and in effect, through their choices, they are essentially recomposing the original pieces of music they are listening to.