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I can’t remember if I wrote a draft before I met with him or whether we met and chatted, and I started the draft.

I’m sorry, I can’t actually remember, but yeah, from the get-go, there was always talk of him being involved, and it was lovely working with him on the development process and throwing ideas around with him.

I’ve been really lucky not to have a duff experience with a director.

This film has a lot of elaborate set-pieces, whether it’s the big fight on the pier between the Hollows and the skeletons or the first time we go under the sea and go on the boat.

I think for most directors, and Tim is no exception, it’s what will be the best and most fun, and most magical thing to do here?

And then we worry about how we’re going to do that.

Did Ransom want to have any involvement with the process of making a movie?

Goldman on the roof of New York’s Mc Kittrick Hotel, best known as the location for the “Sleep No More” experience.

It was a really lovely collaborative, creative experience.

Did you meet Ransom at all during these early stages?

Anytime he threw ideas my way, I always adored them, so it was sickeningly pleasant. When it comes down to it, he’s directing it, so if there’s anything he wants to change, he can change it while filming.

Sure, but actually Tim’s a director who, because he’s such a meticulous planner and he does a lot of storyboards, and actually, nothing changed, I mean, more than any director I’ve worked with. There were no on-set changes, and in terms of rewriting while it was in production, I think it was the fewest during-production changes, and even then, the only additional writing I did while it was in production was Samuel L.