Another fascinating revelation concerned the newspapers in The Grand Budapest Hotel, including The Trans Alpine Yodel, The Daily Fact and The Continental Drift. For each paper, Wes Anderson wrote every single story, whether or not they were directly in shot, or anything at all to do with the film’s overall narrative. But authenticity, Annie insists, is everything: she even studied Hitler’s actual calling card to design a fascist character’s business card in the film.

On a more Art Attack level of advice, Annie advocates ageing paper using Barry’s tea bags: three for each ten years of age. She points out that even if the props in the film are new in the narrative, for a film set in the past the audience expects an “old” aesthetic.

But for all this authenticity, perhaps the most charming part of Annie’s talk came with the reassuring admission that even someone of her calibre can make a huge, embarrassing cock-up. The beautiful Mendl’s cake boxes seen countless times throughout the film – of which about 3000 were made – each bore one glaring error. She’s put two “t”s in patisserie, which were edited out in post-production.

“As graphic designers we have a responsibility to language and words and grammar as we work with it all the time. You have no copywriter or editor; you’re alone in film and no one else is watching out for that stuff for you.

“Everything in the film is there for a reason. Except the two ’t’s in patisserie.”