The smallest detail can contribute to the whole, I think particularly with emotion, you want it to be as authentic as it can, whether its a artifact or a theatrical event. But the whole is the sum of so many images.

I love a chance to shoot real locations, because in films in the earlier days before people traveled as much, it was exotic to see a film set in Switzerland, and that area has been taken over by CGI, mostly, and fantasy landscapes. It's unusual to see this much landscape, people say it's old fashioned. So what you're referring to is there was that period in the '50s and '60s when there were epics and you saw landscape.

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.

I think Ed Harris is a conscious screen actor, so I think it was strong, it was like he put everything together somehow in 'The Way Back'. He likes, I don't want to say the method approach, because that's not really necessarily his way of working, but it was easy to do because of the location. He'd go off by himself, and they would make things.

Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.

The smallest detail can contribute to the whole, I think particularly with emotion, you want it to be as authentic as it can, whether its a artifact or a theatrical event. But the whole is the sum of so many images.

Well, all these stars have their houses swept quite regularly by people who work in the surveillance security business. They come in and they look for bugs and things.