Jim Caviezel: Well we showed it in France and they actually liked it.

Dagmara Dominczyk: They were very nice.

Q: Jim, where do you think you are in terms of career with this behind you?

Jim Caviezel: Finish pushing this one, and then I have another one with Ashley Judd and Morgan Freeman - push that one. I've been looking for a good script. Hopefully I will find some. But I just look through the material.

Q: Jim, what was it like working with Richard Harris? I've heard stories about him being difficult and some sort of a party animal?

Jim Caviezel: Yeah, wonderful man. One of the great things I have about working with him is that all my scenes with him were in a prison - it was just him and I. I got to spend a lot of conversation, not acting - personal, athleticism - he's an athlete as well. And I remember one day he said to me, he says, "Jim, you need to lighten up, have a Guinness" [Laughter]. And I said, I think I can lighten up better if you sing so at one point when we're digging down in the dirt there,, he's actually singing that song. I love the way his thought pattern works with the script. I mean, one day he picked up his script and I'm looking at his notes, and literally see how he's circled one word and tied his thought pattern through. And there are - that's how he learns his material, and he's remarkable. And the guy has - I've probably heard him tell a thousand stories in roughly two weeks. It's good. I don't remember all of them, I couldn't come up and tell you all of them, and the other parts were personal, but he's a wonderful man.

Q: Jim, you have to act through a great deal of hair. Does that make you feel more of a character or can it get in the way?

Jim Caviezel: Well, one good thing about it is I had to spend more time in the make-up chair, and therefore I got some extra sleep in. The changes were long, and you know, I don't really think about it. It's like well this is what you have to do, and so we did it.

Q: Kevin, he looks terribly neat when he gets out of a balloon and we see the new Count. In terms of the look was that very important?

Kevin Reynolds: Well it was, and we - we experimented with a great deal. We tried to determine what the Count's look should be, because we had to satisfy two things. First he had to be plausibly identifiable to the people he'd known before, but at the same time he had to remain attractive. And so we tried all kinds of things. We tried a full beard, we tried different kinds of wardrobe. Like you see in the picture what we ultimately came up with, but it was all - you know, it was all trial and error. And when he was in the prison, though, that was - that was really daunting, because we actually were shooting around the hair, quite frankly, and because he went through so many looks, as he said, three hours in make-up. And so while Jim was in one look, we had to shoot that, and then we'd have to break into another situation and shoot something without Jim while he went into, you know, yet another look. So we were really tied to the hair.

John: Swords never really seem to have gone out of fashion. What were you favourite squash buckling movies?

Kevin Reynolds: Well, my favourite, is a little known picture was Ridley Scott's The Duellists and it heavily influenced me.

Jim Caviezel: I'd just have to say Rob Roy. I loved the different type of sword play between the two actors in that, one with more power and more speed.

Dagmara Dominczyk: Well I didn't go to the cinema a lot when I was young. My parents would watch Sunday afternoon movies with Errol Flynn, you know, like his Robin Hood, and all I remember is his tights and his little cap. And like old Zorro, you know, old TV Zorro, things like that. But I can't think of any contemporary.

Q: Kevin, you must have learnt a lot [with regards to sword fighting] from doing Robin Hood, and it must have made some of the sword play scenes in this film old hat?

Kevin Reynolds: Well, you do. I mean, you know it sort of goes into your subconscious and you remember things. But I mean the style of the two pictures was considerably different because Robin Hood's more of a romp - sort of an action adventure - I mean, a fantasy type romp. And this is more couched in reality than that was, so it has a more serious tone. But yeah, having done period before, you become aware of some of the pitfalls of doing it again, and hopefully you avoid some of the same mistakes.

Q: Jim, I don't remember the original being so spiritual. Is that something you injected into this character?

Jim Caviezel: No, it's one of the things that attracted me about the story originally. J.Walker (?) wrote some real great things about it. I remember telling Kevin, the great thing about him is that when we - going on, I said, I had this kind of process that I work on, go though. I honestly don't know if I can do this, but the other side of me says, yeah you can and you're going to be great at it. But I said, just play through that fear and see where it takes me. I felt like - I spent a great deal of time reading this book by Victor Franklyn In Search of a Meaning. It gave me more of a reality of what it might be like in prison. And he - the idea that - I felt if we didn't get the prison scenes right we weren't going to have a film. I think there is a like a mathematical formula to spirituality. It's not just a situation and like it's what you believe in, make your own morals up. I think it is as strong as gravity, much stronger than that. And - I look at freedom talks about freedom - freedom doesn't just come from walking around; it comes from within. And freedom can arbitrarily be taken from you solely based on the physical, but interior freedom, that is something that can only be taken from you, if you allow it. And even when Monte Cristo escapes from prison, he still doesn't have it because he's possessed by the forces outside himself - the world. And so when he became the Count, I wanted to make sure that scene, my favourite scene in the film, when Richard Harris says, don't commit the crime that we now serve the sentence for. Remember God says, vengeance is mine. He says, but I don't believe in God. Doesn't matter; He believes in you. I felt that is the one piece that he saw at his death that's continually taking through with him throughout his journey as the Count that, even though he wants revenge, and consciously thinks of it, there's something subconsciously in him that's eating him alive, and time is passing, eternity awaits if he doesn't come to that realisation he'll have to meet his own justice.