There was the scene that Guy shot which is all about super duper crazy slow-motion and things hitting and things-- you know, James Herbert literally doing a masterpiece off-- you know it's like an editing masterclass. \r\n\r\nI looked at that thing, and the first time I looked at it and I went, hmm. \r\n\r\nRight. \r\n\r\nOK. \r\n\r\nThat's all the story going on. \r\n\r\nThat's all the stuff going on. \r\n\r\nAnd stylistically it's very different from anything in this movie. \r\n\r\nSo there are two ways of solving it. \r\n\r\nEither I can go and figure out every moment and do something with every moment. \r\n\r\nOr I can find a crazy simplistic through-line. \r\n\r\nAnd so that slow tempo had to be right. \r\n\r\nAnd these guys had been working, I think Guy will forgive me for saying this, they'd been working in the counting room on the scene forever and they could not-- they didn't want to go and ever look at that scene again. \r\n\r\nAnd so this is where the great thing is interesting because it changes the feel. \r\n\r\nSo they were basically very, maybe a little bored with this scene. \r\n\r\nSo I remember the first time I showed it to Guy. \r\n\r\nHe's not saying anything. \r\n\r\nHe goes, "play it again". \r\n\r\nI play it again. \r\n\r\n"Play it again". \r\n\r\nI thought, what's he thinking? \r\n\r\nHe's not telling me what he's thinking. \r\n\r\nHe's, you know, he's either-- he's either hating it or he's trying to come up with some-- it was like he couldn't look at the scene any more suddenly he found it completely compelling to look at again. \r\n\r\nSo if I can find this bit, God, where was it? \r\n\r\nReal-- find-- we come from-- actually, we come from something, you know, which is on purpose very action musicy and very straight. \r\n\r\nWhere are the horses? \r\n\r\nStay behind. \r\n\r\nWe need them. \r\n\r\nYou wanna go back? \r\n\r\nWhat's wrong with that? \r\n\r\nThis is nothing. \r\n\r\nJust let them talk. \r\n\r\n[MUSIC CONTINUES] [NON-ENGLISH SPEECH] It's just one note, the whole thing is just-- [NON-ENGLISH SPEECH] So obviously, there are so many different tempos going on in the scene, in the cut, in the way he treats every shot. \r\n\r\nSo by just brutally imposing this grid onto it, it feels like sort of-- things can't end up good. \r\n\r\nYou know, it's like fate just grabs you and imposes its own rhythm on top of that. it. \r\n\r\nAnd I am on purpose not moving notes, it's just like boldly sticking to one note.