When you watch Synecdiki and I've seen it, maybe a dozen times. I'm always discovering things about the movie that I don't remember well being involved in it. And I watch it and I go, they couldn't have changed that. Well, how come I never saw this before? And I think that's a testament to me of Charlie's brilliance and that he's built so many layers into his story that I didn't understand at the time, but yet I still tried to achieve and try and help him execute, that all come through on screen after you've seen it again and again and again. And I think that was a large part of this movie for him was, how do you tell a story about aging and death and the passage of time in two hours, essentially, in a world that's inside a world, inside another world, inside another world. It's like an onion, you peel it and you keep finding new layers inside it. And I think once I understood that, which probably took about two and a half months during prep and the beginning of the shoot, all of a sudden it kind of made sense for him that everything just wanted to have this depth and texture. Part of the process was to work with Mark Friedberg, who was the production designer, and figure out where his physical building would stop and where the visual effects would continue. And it was a conversation constantly back and forth of us going, well, if I built this part here, can you take it from here? And the interesting part about that movie is it's about Philip Seymour Hoffman's character building a world. So we had the luxury of being able to build things that were supposed to be half constructed. So the illusion became where does the artificial construction stop and where does the CG part take it from there. And we would shoot the buildings of an initial set that was all scaffolding and kind of like an erector set. And then he would put a couple of walls up. And then suddenly we would shoot a real location and I would take walls away to make it look like the same place. And part of the story was that they were also building replicas of the real world. So we would go shoot a real location. Then we would construct a set version of that real location. So we had a lot of like textural elements that we could play with and bring back and forth from one to another. And for me the challenge was keeping it as simple as possible. So it was a lot of two-dimensional compositing where possible. We built a 3D environment to put the thing in and we did build the CG environment that we rendered from a couple different angles because as the idea is that at some point the entire city of New York is inside of a warehouse, which is actually inside of another warehouse inside of another warehouse. So we had to build this essentially warehouse that we could place in the backgrounds of different shots to make it feel by the end of the movie that wherever you are you were still inside a building. So your job is so completely different. And really at the end of the day you want the work to complement the film.