My name is Sam Levinson, and I am the writer and director of “Assassination Nation.” So this is a scene later in the film in which the four girls are accused of being behind the massive data hack that resulted in all of the residents of Salem’s private information being leaked. They’re getting death threats online. They’re posting their address. And Em, who’s played by Abra here, is worried that her mother forgot to set the alarm. Initially, it was written as a house fire, actually, in the script. And because we’re a low budget film, we — we couldn’t afford a house fire. So Marcell Rev, the cinematographer and myself sat in a room with a kind of a 3D model of this house that we had found that was in Louisiana that kind of was on a corner, so we could basically — it had, you know, three sides that we — we could all see. The goal was to create a scene that felt as cinematic as — as a house fire but with — but something that we can shoot in — in 10 hours. So we sat there with, basically, this 3D model that Michael Grasley, our production designer, had built, and tried to figure out, what’s the scariest way possible that we could sort of, you know, choreograph this home invasion sequence? And we came up with this idea of shooting it from the outside. And actually, on — on this take here when the stunt guy grabs Abra and pulls her towards the window, he actually slams his hand into the glass, and the glass actually shattered for real, which was a moment where your kind of heart drops as a filmmaker, and you hope everyone’s O.K. But that ended up having to be our last take for that section right there, because we couldn’t replace the window. So we had kind of designed this dolly track that a techno crane with a 42-foot arm could sit on so it can actually go around all three sides of the house without a single cut. And so from that point on, it was just a matter of — of getting the choreography and the timing right. So, you know, I would sit with Marcell behind the crane and — and sort of walk with him with a radio that I could communicate with all the actors inside to make sure that they — they hit their marks or to make sure that they were — you know, the camera was keeping up with them, or they were keeping up with the camera, so it felt like this was something that was in motion and was continuing to sort of, you know, build suspense. There was also something that felt, you know, very apropos about watching this horror unfold and — and being helpless to it, which is, I think, something that we often feel and trolling through Twitter or — or Instagram and — and looking at these sort of tragedies unfold, where we’ve become sort of spectators to it. [ominous music] [gasps]