For Valspar, we built two identical sets side by side and dressed them as completely different emotional states. One bland, one bursting with colour. We spent half a day in each, which felt slightly mad, but gave us a really satisfying in-camera transformation.

To help sell the shake, we had a tremor machine rigged to the camera and a very well-hidden art department quietly rattling the world around our cast. It was one of those lovely commercial shoots where the trick is both very technical and very handmade.

Pat did such a brilliant job with the edit at Marshall Street, finding the rhythm and really making the whole thing pop.

Marshall Street RIP.