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

I became obsessed with the true stuff, and that led to shaping 'The Way Back' screenplay somewhat toward a minimalist style, to avoid free-hanging moments, and to hold the music back, so it would never lead you to an emotion, and to try to make the emotions as real as I could.

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.

Movies tie things up in an arbitrary length of time, but I have always liked things that aren't fully realised.

Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'

In 'The Way Back' survivors were all ordinary people, and that's the whole point, that's who I felt these people should be, and they shouldn't be that hero that stands out.

You can mix in certain sensitivities as a filmmaker.