![]() So he just had a hard time breathing for a couple of weeks. And Guy never said anything except the next day, I came up to him and I said, I know I got you pretty good. I missed his arm slipped and caught him on his side. And so we started rolling, and there was one point where I did this lunge and it was supposed to come under his arm. ![]() It’s the last shot of the day and everything, you know, just keep it real, keep it real’. Jim Caviezel: One time actually Kevin comes up to me and we were trying to get this scene down first time we shot it and he’s like ‘come on boys, you know, we’ve got to get this right. Q: Did you sustain any injuries between you? I want to work hard and Guy equally had the same work ethic. I think one thing about me - my talent is just work ethic. We has stunt guys there to work with us all the time. And I don't want it cut away, have Kevin put someone else in there because we were not good enough, you can ask him, everything we did there was us. You know, I learnt fencing, I think the big thing is Guy and I both have athletic backgrounds, and I remember telling him, you know, let's do something with this - let's take it to the place that hasn't been. Bill Hobbs - very thorough, taught us a lot, especially about safety. Being an actor affords you the opportunity to play all of those different people. When I was a kid, I wanted to be a pilot and I wanted to be a doctor at once point I wanted to be a pro baseball player. Jim Caviezel: I think I'm playing my whole childhood fantasy out being an actor and taking different kinds of roles. Was this a chance to live out any childhood fantasies and what paces were you put through by Bill Hobbs? Q: Jim, you look pretty accomplished with a sword. So relying on the fact that probably 98% of the public had not read the book, despite what they say, we took a lot of liberties with the material and simply tried to stay true to the theme of it. And we needed to do something radical with it in order to make it a movie. I Also felt that, having read the book, which is incredibly verbose and dense and full of - it's probably got 50 characters and dozens of sub-plots, and you can't possibly incorporate into a picture, that while it made a really interesting read, it wasn't very cinematic. But after that, I felt that each one of those was very much of its own time, and I realised we were going to have to do something that would be of this time. And I watched two of the previous versions - the 1934 version with Robert Donat and the seventies version with Richard Chamberlain. Kevin Reynolds: Well, once I decided to take it on, I realised that there were so many previous versions that we were going to have to do something to make it fresh, to make it new. Q: As a received piece how much input were you allowed to have into it? But I've always kind of had a soft spot for the classic literature, and when I heard they were going to make it, you know, I sat down and said, well, somebody's going to have to direct it it's going to exist. Kevin Reynolds: Well, yeah I guess initially there was a bit of hesitation in that it was not a project that I initiated it was something that Disney was going to make. Was there any hesitation to do another or to find another way of doing it? Kevin, there seems to be a Count of Monte Cristo for most generations. Jim Caviezel, Dagmara Dominczyk and Kevin Reynolds on the dangers of adapting classics, swordfighting and working with Richard Harris.
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