So much of the work is intuitive. The resistance you detect is just that, a kind of evasion, a sense that too much analysis will inhibit creativity.

I've become wary of interviews in which you're forced to go back over the reasons why you made certain decisions. You tend to rationalize what you've done, to intellectually review a process that is often intuitive.

You can mix in certain sensitivities as a filmmaker.

The best conversation with Stanley Kubrick is a silent one: you sit in a theatre and watch his films and you learn so much.

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.

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.

If I can't make the kind of film that I want to make, then the hell with it.