I read Wayland script and I was very
attracted to her because it didn’t seem
to me to be the usual kind of very much
the Christian Orthodox line on Jesus
this was a script that was about a man a
real man and I was very interested in
making film by Jesus that would appeal
to believers and non-believers it’s got
huge scope and scale I mean for a
television film I mean it you know
there’s an open 90 speaking parts I’m
not having any of the features I’ve done
about anything like that many people so
it is a very much of feature scale
project the other thing that I was very
keen to do was to create a believable
east Mediterranean world two thousand
years ago which I don’t think many other
movies have done they tended to be
people live very obviously Northern
European on all North American types it
just sort of didn’t ring true to me so
we tried very hard I mean obviously
they’re as American British actors and
listen someone who even got blue eyes
but we did go over all to get a very you
know dark Levantine other look that I
don’t think any of the other films of
her
and I think it’s to national Geographics
credit that they let us do that and then
i discard the Christ you know who did
look like her and eastern Mediterranean
Levant I’m person I think it’s a
different view of Jesus because I think
he comes over as a real man in a real
time and the other thing I guess we
should say is that what this film does
more than other films i think is it gets
over the political forces that were at
work in the middle east northeast
mediterranea that at that time which was
a time of imperial conquest and kind of
extreme religious agitation it has
enormous resonance with now so i think
it does have real kind of contemporary
relevance in a way a lot of dumped about
clothes don’t
attracted to her because it didn’t seem
to me to be the usual kind of very much
the Christian Orthodox line on Jesus
this was a script that was about a man a
real man and I was very interested in
making film by Jesus that would appeal
to believers and non-believers it’s got
huge scope and scale I mean for a
television film I mean it you know
there’s an open 90 speaking parts I’m
not having any of the features I’ve done
about anything like that many people so
it is a very much of feature scale
project the other thing that I was very
keen to do was to create a believable
east Mediterranean world two thousand
years ago which I don’t think many other
movies have done they tended to be
people live very obviously Northern
European on all North American types it
just sort of didn’t ring true to me so
we tried very hard I mean obviously
they’re as American British actors and
listen someone who even got blue eyes
but we did go over all to get a very you
know dark Levantine other look that I
don’t think any of the other films of
her
and I think it’s to national Geographics
credit that they let us do that and then
i discard the Christ you know who did
look like her and eastern Mediterranean
Levant I’m person I think it’s a
different view of Jesus because I think
he comes over as a real man in a real
time and the other thing I guess we
should say is that what this film does
more than other films i think is it gets
over the political forces that were at
work in the middle east northeast
mediterranea that at that time which was
a time of imperial conquest and kind of
extreme religious agitation it has
enormous resonance with now so i think
it does have real kind of contemporary
relevance in a way a lot of dumped about
clothes don’t
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