"It was a mixture of practical puppeteered arms, CGI and animation. We had a fantastic team of puppeteers. 15 guys and one woman. And a wonderful choreographer, a guy called Eric Hayden, who essentially designed the movement in a way. The puppeteers and myself worked together very closely over a series of weeks to try develop a vocabulary of movement, a language if you like, so we could do great big things like push a hole through a building, but at the same time do delicate things like taking off a pair of glasses or like lighting a cigar. Even one shot we did, I don't think we ever used it, but one of the tentacles actually came out and wiped away a tear. So we had a really wide range of possibilities. What they did, which I thought was brilliant really, they managed to infuse these lumps of resin and fiberglass and metal and plastic with real life. They gave them character and personality. There's a wonderful moment where Flo, the female tentacle (Yes, Molina has named them), comes in and I say something, I mumble something, and she does this wonderful thing where she just tilts, as if she's cocking an ear because she can't understand what I said. Puppies kind of do that, and I thought it was so brilliant, that kind of detail makes them so completely full of life... That's a great tribute to [the puppeteers]. They were really clever.""