Every time we (me, Jeremy, Doug) got serious about something, the producers (Tiffany, Wendy) would start rolling their eyes—great, another one of those “weird” and “hard to understand” requests that they’d now have to deliver to the director. And of course, they’d be the ones responsible for conveying it and figuring out how to make it happen.

Eventually, the other producers weren’t even sure whose side I was on—was I with them, as a producer? Or with the VFX supervisors? I felt bad about it, honestly. It really was never personal—it was always about the work. Being the producer on our team was definitely a tough gig. But the VFX supervisors never let things go either. They’d constantly raise new questions: Would doing this lead to that? What if we assume it goes this way—then what? What if it goes the other way? Is that a risk you’re willing to take? Every time, the director’s face would flush red, then pale (sorry, director, but you did turn all kinds of colors)—and then, quietly, sometimes angrily, he’d take it in, and adjust the plan accordingly. Some people thought that kind of director was actually pretty adorable.