My involvement on Oslo was relatively short, around four or five weeks, and from a Special Effects point of view it was a fairly contained job. Most of our work was stage-based, creating atmospheric smoke, wind and interior rain effects.

But if I’m honest, the effects aren't really what I remember most about this film.

Oslo unexpectedly reunited me with Janusz Kamiński, who I had first worked with many years earlier on Saving Private Ryan. We had struck up a very good relationship on that film, so walking onto set all those years later and seeing him again was quite something. He was genuinely pleased to see me, and we immediately picked up pretty much where we had left off.

Janusz is a huge character and a massive presence on set. He also has a wicked sense of humour and is an enormous mickey-taker, so you certainly have to be able to give as good as you get. That's very much my sort of working relationship, and there was plenty of banter flying around during those few weeks.

Behind the humour, of course, is an extraordinary cinematographer. Watching him work and seeing how particular he is about light, atmosphere and what is happening in front of the lens was a pleasure. With much of our work involving smoke, wind and rain, there was a natural interaction between Special Effects and Camera, which meant I got to spend a fair amount of time working directly around him.

I was also back working with Sam Breckman, a producer I have always loved working with, which made an already enjoyable job even better.

Not every film in a career is remembered for enormous mechanical rigs, explosions or complicated engineering. Sometimes it's about the people you meet again along the way. For me, Oslo will always be remembered principally for those four or five weeks working, laughing and taking the mickey with Janusz again after all those years.