You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.

There are certain scenes in the edit you're playing with it and certain scenes don't put back together the way you imagined. Sometimes they're better and sometimes they don't have that thing, so it's never foolproof. But you certainly get an idea that here we've got enough and we've got to move on because you're always against time and money there. Whatever the budget is, you have to get practical about it.

You're just looking for the thing that makes this scene sort of imperative, why you have to know what changes by the end of the scene so you're really looking to find the essence of it.

Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.

Sometimes you do absolutely know there's something there. You feel it in your bones. I actually literally feel it on my skin sometimes. I do get goosebumps. There are times when you go oh God, that works that moment! But you find you take it apart again.

f you're making the scene as a director, you're looking for alternatives, once you've got to that place that's very much in Rowan's [Atkins] head, to see if you can take it further, in some places. Sometimes you do absolutely know there's something there. You just feel it in your bones.

It's very tricky to know when to stop. I think there are definitely moments where you feel that is the heart of a scene. When you're working on the script, you're looking for a handle on it.