It was incredible. I’ve wanted to do it since I was a teenager. Filmmakers like Toni Myers and Greg MacGillivray were doing unbelievable work. They were taking these cameras on airplanes, into space, up Mount Everest. So, I wondered why couldn’t we take it into a studio? The big barrier was always sound. We started with the Dark Knight, doing action sequences that way and built on that through my career. But we were never able to get the intimate moments. So, for this film, I challenged Imax to build us new cameras so that we could shoot the whole thing on Imax. We went into it with a backup plan, carrying other types of cameras we could use if we couldn’t do this. But about halfway through the shoot, Hoyte and I were filming one of the most intimate scenes between Matt and Anne, and it had gone well. It really worked. We suddenly looked at one another and said, ‘OK, we can do this. We can do the whole film this way.’ From that moment on, everyone just rose to the challenge and just embraced it. But for me, it’s the fulfilment of a long held dream to do that.