This was editing from the bottom up. The storyboard cut was absolutely essential to the process. I started working on that maybe two weeks before the shoot began & it meant we could get a really clear, realistic sense of how each scene would time out. There was so much going on, it needed to feel coherent as well as have an emotional arc. I worked very closely with the composer, making sure he approved my music edit - this had to be locked at the storyboard stage as a lot of the picture sat on very specific lyrics, so we had to commit to the structure very quickly. Putting all that work in early, before the shoot, meant that once we were into the edit proper, all the massive questions were answered; everyone was onboard and we could really get into making the best possible film.