How has your approach to visual effects changed since the early days of your career?

It is interesting because when I first made Merantau, I had no idea about the level at which VFX could be applied. This was my first experience with that. And I remember there was a shot in Merantau where my boyfriend VFX, Andy Noviano from Clay's studio in Indonesia, put in a digital Wallid for us because we couldn't afford to build. And I remember being blown away as possible. I don't know why I didn't think it was possible, because I saw the plethora of scientific films that did much more crazy work with VFX, but for any reason, it never had to do my job. Maybe because I was working on a low budget level, I just didn't think it was feasible.

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And gradually over time, the more experience I have had, the more times I have worked with VFX supervisors on the floor and learned what they need, what they want to be able to lie in VFX, the more I understand what the restrictions are, and how we can help build the world. Because we did very practical. There are many many VFX that help us in places. Eddie is one of the best there in the industry, I feel, to make blood hits and debris and blinks of muzzle. I just think his attention to the details is extremely.

But then we had an incredible job of all our suppliers, one of us and Troll and Dupe, who did an incredible worldwork for us because we obviously filmed a film that set up different cities on the east coast across America, but filmed it fundamentally in Wales. So, it was always with one eye to look at "Can I fill half of my frame with a real enough architecture, so that when we lie in the rest of it and increase it, that there is a reference framework to try to feel more hesitant to avoid being aware of the artifact?" So, yes, it's a gearbox for me, but it's like using it reasonably and how to use it in the right way is always my advantage.

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Cool. So, I only have a few minutes with you. I just wanted to ask if you have a favorite blow in this movie. You've been talking about your inner gick before. Is there one thing you were really pleased with what you managed to achieve in this movie?

Oh man. I love the introduction of the killer in front of Lawrence Ambush. That big crane that enters, and then with the entry of a motorcycle, I've always wanted it. But then I also love the rhythm equally - shortly after that, there is a shot that goes from our boyfriend with the gun up, the bodyguard with the gun up, traveling through the car to the street literally as the assassin's gun returns in the opposite direction. Working like that, they are just small moments, but it's like such things, the symmetry of it and the rhythms of it and the shock elements of it, which really excite me. When it works perfectly, there is a dance between the camera and the contractor, which makes me really excited. If Give I give a few more thoughts, I will probably come up with 15 other shots I would really like. Although I have to give Matt Fleners a loan for the opportunity to do them all the time, but yes.

Last question: Do you have your next project set as a director?

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If you asked me for about two, three weeks, I'll probably give you a much more informative answer. I have something we plan to shoot in the summer. I'm just shy to be able to post it yet.

Well, I'm glad to hear that. Selfishly, I hope it won't last so long between the movies this time around, so I'm glad to hear you have something cooking.

Oh no, it will probably be a much faster process. And obviously, naturally, it's another Roma-com.

Havoc is now moving on Netflix.