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their hands dirty, so to speak, to get that per­fect shot or lend their films more au­then­tic­ity and im­me­di­acy. Most things can be done with CGI in post-pro­duc­tion nowa­days. But for Dain, that per­fect sky, per­fect light or beau­ti­ful land­scape meant spar­ing no ef­fort, some­times get­ting into the water among the

him­self. “This is part and par­cel of how I work, I guess,” says Dain. “Some­times I get lost in it. Some­times time is of the essence. For one scene I was in the water be­cause Azura (supermodel Tengku Azura who plays a mys­te­ri­ous wo­man who ap­pears time and again in fever-dream se­quences) was sup­posed to come out of the water. Time was re­ally run­ning, and I didn’t want to lose those clouds.

“It was to­wards the end of the day al­ready, and I didn’t want to lose the light. I also wanted her to come out of the water in a par­tic­u­lar way. It was dif­fi­cult to ex­plain, so it was bet­ter to get in there and show her how I wanted it.”

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