In Widows, some of what interested me was delving into Veronica’s past and the tragedy that’s at the heart of her character. You’ve got the classic thing of a heist movie, in which all the ingredients are slowly coming together and accelerating toward the big night. You’ve built all that momentum, but you’re also cross-cutting it with more poetic investigations of how the characters got to where they are — and we chose to reveal that non-linearly; it created suspense.
The order in which we discover things did change so that the audience didn’t know things too far ahead of the characters. There was also the benefit of a small amount of new material shot while we were in post, to shore up some ideas. For example, a little beat where a child picks up a weird toy. It’s something that goes past so quickly and you may not see where it’s leading but it clicks into place down the line. One of the most delightful things I’ve heard is people seeing the film a second time. They see it differently.