So you've gushed about your experience working with the master of gothic fantasy and Tim Burton. How did you see his obsession with aesthetic come through in the way that he directs? First of all, he draws a lot of his shots. So there were some days where I'd come into work and he would have his own little picture that he drew me playing the cello and me fencing him to say, this is what you shoot at. You go. Got it. Or even on the first day when they were trying to establish what my hair was going to look like. We ran two hours behind because no, her braids are uneven. This one's lower. This one's higher. He didn't like the way that my fringe looked at the time. So he was just, hey, do you mind if I do that? He asked the hairdresser very politely and just kind of did my hair himself. It would be like four in the morning and some random Romanian forest and oh, where's Tim? And he's carrying two trees throwing them in the back of the shot so that they'd land exactly where he wanted them to. He was very specific and happy to do it himself, but also a really great communicator and collaborator.