Just 12 weeks ago, it wasn't going to be like this. With 83 speaking parts and 100 different sets, this is an enormous movie, requiring a steady hand and clear head in charge, particularly, as I'm about to discover, as no one really knows how it's all going to turn out. He's the most meticulously prepared person I've met." He does speeches and everything, and he's up before anyone else, at 4.30am, working out his shots, so by the time they all get on set at eight, he's been well into his day for hours. "He believes if everyone's a part of it, they will give that bit more – that's very much the aspect of the theatrical showman about him. You get bang for your buck because he knows he's got to share his vision with everyone and he's so aware of the team aspect of film-making. "But the great thing about working with Joe is that he doesn't lie. "It's a Joe Wright-ified version that's for sure," explained Webster, who also produced the director's award-winning period dramas Pride and Prejudice and Atonement. I've just come from his office, – in the David Lean building, no less – where he has filled me in on the background to this particular, peculiar production of Anna Karenina. The words of Wright's producer, Paul Webster, now ring in my ears. That moustache lends him the look of the carnival, but then he's always had something of the ringmaster about him when he works, the centre of his own universe of players and magicians. For someone in the middle of a tricky and costly British film shoot, he seems remarkably relaxed.
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