Maggie Gyllenhaal

Sitting behind my... What an incredible editor you had.

My incredible editor, Dylan Titchener, yeah.

Cut Boogie Nights and There Will Be Blood and Zero Dark Thirty, amazing.

Well, and I just want to say, actually, because we were talking about the acting, and obviously I've been an actor, but what I haven't been is a cinematographer.

And, you know, I learned a lot about aspect ratio and lensing on The Lost Daughter, but the truth is, and now I'm understanding who Tracy is, you know, on a little movie, you have...

No money.

And so you can't afford even to rent a lot of different lenses.

So in The Lost Daughter, we maybe had five lenses, maybe.

And so with those five lenses, I learned a lot.

Then I go, as Jason and Zee were saying, to this totally different scope.

And I have cranes, techno cranes, shooting for IMAX, which is a very particular thing, which is not just a movie that will play in IMAX, but a movie that's designed to change aspect ratio, like to grow vertically for an IMAX audience.

I didn't even know really what IMAX was when I started.

And Larry Sher, who's my cinematographer,

I felt like I came in to this movie with a really clear, you know, idea of what I wanted to say.

And in a lot of ways also how I wanted to say it, even visually.

But I don't know.

I felt like I took a master class with him.

And I do feel like I finished the movie speaking a language that I didn't speak when I started the movie.

Which is maybe part of what was terrifying.

Like if you have to learn...