My previous film with David had been The Legend of Tarzan, a production packed with large-scale practical effects, and Fantastic Beasts felt like the point where I really noticed the balance beginning to shift. This was a world increasingly driven by Visual Effects, and if I’m honest, that was something I found difficult at first.

We still created some substantial practical effects, many of which can be seen in the gallery below, but the sets were becoming noticeably more blue and green than those I had grown up working on.

For me, part of the magic of filmmaking has always been the ability to walk onto a set and become completely immersed in another world. The best sets carried that illusion right down to the smallest detail. If there was a piece of paper sitting on a desk, you could pick it up, read it, and what was written there would belong to that character and that scene.

That level of detail may never appear directly on camera, but it affects everyone working within the space. It gives actors something real to interact with and gives the crew a sense that the world actually exists beyond the edges of the frame.

That attention to detail — whether it comes from construction, props, Special Effects or any of the other practical departments — has always been a huge part of the art of filmmaking for me, and one of the reasons I was drawn to the industry in the first place.

This film gave me my first BAFTA nomination.