The way I wrote it was: everyone stops, she walks across the room, her footsteps echo, but then I was like, we need more, we need to push it further, so Sean Bobbitt (cinematographer) and I did the double dolly and also used the cine-fade to shift the depth of field as the shot was happening. In acting that scene, Thompson adds, I knew that their history and magnetism needed to be expressed, this feeling of when someone enters a room, and they mutate time, they slow it down or speed it up. In moments, I couldnt really see Nina
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