CLOSE ON India. Not an easy face to describe. Not that it’s without beauty (it isn’t), not that it’s without character (it isn’t), but it’s a face that gives nothing away. You can’t talk about the view with the shade pulled down.
What I liked about [Wentworth Miller’s] script was that it wasn’t full of car chases or things blowing up, it wasn’t full of people chattering away. The remarkable thing about the script was that it was very quiet. There are opportunities to use sounds other than dialogue, and opportunities to bring in a lot of visual elements. There was a lot of room for me to breathe in a lot of my own into the script, and while being quiet, it was still full of palpable tension and fright.