You shot a lot at night, in various seasons, in extreme weather, and with greatly different light situations. The film also has different chapters and levels. How did you go about deciding on the color grading?

Nico Hauter from ARRI Media in Berlin was the colorist on “Space Dogs.” We started bright, colorful, and loud, thinking it would be a great look for this film. But then in the grading we drifted more and more toward a more naturalistic look. The biggest challenge was the orange of the sodium vapor lamps that there are so many of in Moscow. Finding exactly the right nuance alongside all the LEDs and various other light sources in the city kept us busy, and we repeatedly made minor changes. Despite the naturalistic look, we wanted to retain the gaudiness of the city, for example keeping the green and purple. The color diversity has its own appeal, after all, so, in some scenes, we played with that a bit and exaggerated the coloring a little. We also just went with the more emotional and brutal scenes. In a team with Nico we were able to try out a lot—and we did.