Were the kids intimidated by working with the likes of Gary Oldman?
From my perspective, I found the grown-ups more intimidated by the kids. They’d done two movies, they are doing this movie, they are working every single day. Then Gary comes in from a different universe. I think it was tough for him. Could you comment on the choice of Michael Seresin as cinematographer? Most of his films have this gritty look, particularly his Alan Parker films, and this one looks dark – even darker than the first two films… All my life I collaborated with Emmanuel Lubezki – he did my films, and also films like Sleepy Hollow – but he wasn’t available. For the first time ever I found myself looking for a different cinematographer, and actually Emmanuel was a big factor in choosing Michael Seresin. We talked about him as a cinematographer we always admired, and one who we tried to emulate in many ways. One thing that I felt was perfect for Michael was that we have this magical universe that he could really ground. Because he has got that grittiness, and that grittines
