The Running Man was a slightly different one for me.

I didn’t come onto the film as a Supervisor. I’d had a quiet spell and couldn’t find anything of my own, so I gave my old friend Steve Warner a call to see if he had anything going. He had some dailies available on The Running Man at Leavesden Studios, so I went in and joined the crew — this time very much back on the tools.

My work was almost entirely bullet-hit preparation for the various sets. After spending so many years supervising departments, it had been a while since I’d sat at the bench doing this sort of work every day, so there were definitely a few cobwebs to clear away at first.

But I absolutely loved it. There was something really satisfying about getting back to the practical side of the job, preparing the effects myself and working alongside the lads rather than running the whole department.

It also reminded me what attracted me to Special Effects in the first place when I was a boy — making things happen for real and, essentially, blowing things up.

Sometimes going back to basics is exactly what you need.