My name is Simisola Oyewole, and my question was, how did you use framing and camera movement to reflect each character's persona?

It was more for Georgia and I more about the locations and the moment in the movie.

Like, for example, the beginning of the movie when they are still in Norland, it was more like a, a bit of handheld camera, a bit more in motion to feel like they are alive, the nature, the youth, and all of that stuff.

We lose a little bit of this when they go into the cottage.

And then it goes to London when it's more, uh, static cameras and, uh, tracks and more composed framing.

But the only thing I would say was, like, when, 'cause both girls experience the same thing, like their world falling apart, I thought it could be interesting to have, like, kind of the same shot.

When Esme comes back with her interview with Willoughby in the cottage, like, she sits down on the couch, the couch, the low-angle shot as her world, like, collapsed, and we have exactly the same shot when Daisy, uh, hear about Edward saying that he's engaged.

So I think that is something that maybe people who don't know too much about the film process and filmmaking are not aware of.

yeah yeah so how how did sense of um sense and sensibility like i guess come to you how did it find you

So first it was like a call from my agent in the US, Anne Murphy at CIA.

She said, I'm going to send you a script.

They're looking for someone.

They didn't come for you, but I submit you and you be aware there's a lot of DP, a lot of bigger ones than you.

But I feel like you can be the good person because your sensibility will... be a good match with the director.

And so I received the script on a Friday night.

Like, you on a, like, personal, like, cinematography human level, how are you finding inspiration? Like, what are you doing when you're not on set that kind of speaks to you? Um...