The spinning camerawork involved intensive planning and collaboration between the Director and DoP, including carefully aligning the multiple frame rates used in the film (to ensure, for example, that each shot of falling clothing looked convincing and realistic) with the overall rate of the spinning effect.

The budget didn't allow for a huge shoot—the team only had two long days in Madrid, plus another day's mini shoot in Sweden—but the resulting film has an incredible sense of scope and scale given these constraints.