Sarah Jilani

And then obviously, needless to say, working with Guillermo was a masterclass in acting.

He leaves nothing to chance.

He always knows exactly what he wants.

Everything's already been pre-planned a million times.

And if he doesn't get the exact shot that he's envisioned, he will literally retake that 20 times if need be.

Do you remember any notes that he gave you?

He gave me a bunch of tips.

I remember we had a thing for Ophelia where whenever she sees something for the first time that causes her curiosity, in Spanish we say perrito.

He would say, do the dog.

And the dog meant for us to sort of move your head side to side, kind of like a dog who is seeing something for the first time.

A piece of great advice he gave me is an actor's most important scenes are the very first one in a movie, because that's a first impression, and the very last one in the movie for them, because that's the lasting impression that the audience is going to stay with.

A lot of it was not physically there for me to see.

For example, the fairies.

Most of the time I had to imagine the fairies or at best there were golf balls.

These guys, the CGI crew, they had these golf balls on a stick and they would sort of move them around pretending they were the fairies.

The doors are so wide open for anyone to choose their experience watching the movie and their path.

And you can do so many readings into it, even just the end.

There's so many things that are left for the audience to fill in those spaces.

And I think that's what's so magical about this movie.

And the thing is, like, full disclosure, there is no answer.