Die Another Day was my first and only Bond film, and one I went into with enormous expectations. Bond had always represented the pinnacle of British action filmmaking, so getting the opportunity to be part of one was something I had genuinely looked forward to.

I worked for Chris Corbould on the production, alongside Paul Corbould, who I had worked with before and always enjoyed working with.

The part I really enjoyed was working on second unit with Vic Armstrong. I’d worked with Vic before, and he is one of those people who is genuinely inspirational to be around. Despite everything he has achieved, he has a wonderfully calm manner and an extraordinary understanding of how to put action on screen.

The hovercraft chase through the Korean DMZ was a proper practical-effects sequence — fire, water, mud, pop-up mines, explosions and stunt work all happening around the vehicles. It was big, physical filmmaking and exactly the sort of Bond work I had hoped to be involved with.

We also had the slightly painful pleasure of blowing up a line of very expensive cars in the villain’s compound. Even in Special Effects, there are moments when you look at what you’re about to destroy and think, Are we really doing this? We were.

I have mixed feelings about the finished film. Personally, it isn’t one of my favourite Bonds, and after looking forward to the experience for so long I came away a little disappointed. But the second-unit work with Vic, working alongside Paul again and getting to put some genuinely large-scale practical action in front of the camera are memories I’m very glad to have.

Not every production becomes a career highlight — but even the more difficult ones teach you something, and Die Another Day certainly did that.