I don't know if there will ever be an ideal way of selling an original picture. Because everything you're doing, you're inventing.

What we love that 'The Way Back' is not subsidized, it's alive and kicking. And if I can't make the kind of film that I want to make, then the hell with it, I've had a great run. But I'm more concerned with the younger people coming up that want to make this kind of film.

Casting the right actor for the right part is some unspoken thing between the two of you to communicate.

You can mix in certain sensitivities as a filmmaker.

I'm not from a theatrical background where people do like to work it out on some stage space.

I carve stone. I've got hammers and chisels and I carve from sandstone. I just did a big mural of birds and trees.

Casting is always critical but in this case, 'The Way Back', I was looking internationally to a degree for an interesting mix of gentlemen, Irish, Polish, Russian and American. Not many people had the qualifications, people who would play the game, particular to this industry. So I had to research amongst the cast. They had to be very very prepared as we had to start shooting as soon as we could, there wasn't any time to talk, and there would only be three or four takes.