And the reason I really appreciated this is because after the picture came out, I
was invited by the American Psychiatric Association to give a lecture. I couldn't believe it!
Anyway, so what he did was, he spread sheets for 100 yards and underneath them he'd put things so there were bumps and different levels and on top he'd put little bushes and if you didn't look to close, it looked like snow!
He got up and there were both of us in our underwear and this kid goes through the whole thing again, all the closets, the bathroom, everything else and then he left.
He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.
I didn't ever think of it as a social thing at the time. I took it as a good story. Maybe because I've always been kind of progressive so I never thought of it, you know.
I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.
I had read the novel and I had heard David Lean was going to direct it - and it came as a surprise to me because American actors, if given the chance, can do style as well as anybody and speak as well as anybody.
If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?
If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me.
Is this a proposal? I'm married now, you know.
Now that was one thing, but from an actor's point of view, this poor young man, crying from the moment I opened the door to the moment he left. Now if an actor did that they would say he's over-acting.