When you think about the scale of human populations all over the world and the fact that there's so much here, really, the only way to be able to visualize that is to pull back in space... It allows us to see hidden temples and tombs and pyramids and even entire settlements.
I created the characters from what I read in the script. I decided how I should talk, accent, no accent, my own voice, or a created voice. Then, I visualize what I should look like.
The Book of Mormon is concrete and solid, they can hold it, and they can visualize that they have to pray to decide if this physical thing is true. There is no room for interpretation.
I can't even begin to visualize myself as a five-star general... When I think of the people who are five-star generals, I can't even see myself standing in their shadow.
Therefore, when we arrive in a place and talk to new people about a new image, it is very hard for them to visualize it. That's where the drawings are very important, because at least we can show a projection of what we believe it will look like.
It comes down to something really simple: Can I visualize myself playing those scenes? If that happens, then I know that I will probably end up doing it.
The firmest house in my fiction, probably, is the little thick-walled sandstone farmhouse of 'The Centaur' and 'Of the Farm'; I had lived in that house, and can visualize every floorboard and bit of worn molding.
You know it's my job to visualize, what is literal or audible, so I designed all the characters, and I designed what they do and how they should do it and so on.
I think it's always interesting to make sensational stories where, if these people don't make the right choice, it actually puts marks not just on their souls but also their bodies. That means that you can visualize existential questions.
