On deciding how much death to show in the film:

"It is difficult. I mean, we all wanted to make a PG film. At the same time, I wanted an intensity and a visceral quality to the action that made the life and death situations and the jeopardy feel real. I think children are okay as long as you don’t traumatize them, and that’s the balance. You have to be able to let them get scared, let them get tense, to go to all of those places but not take it so far as to be gratuitous or traumatizing. And sometimes it’s duration, how long you stay in a moment, and sometimes it’s the use of sound. You could watch that whole battle with different music, without sound effects and it would have a whole different impact on you. So sometimes it’s a matter of letting the action play and letting the emotion be carried by the music and actually dropping some of the sound of the action away. All of those things are how you shape it in order for it not to be traumatizing or harmful or abusive. Then other things are just how far you go. I mean there’s really very - there’s little bits of blood in the film, when Miraz bleeds at his neck, and I think when his leg is cut, but there’s really no blood. A lot of the time you see the sword swipe, but you don’t see the impact. You hear the arrow hit, but you don’t see it hit. It’s those kinds of things.

Adamson on the amount of pressure the he felt with the second movie:

"A little bit [laughs]. Definitely in terms of audience expectations. In terms of my own expectations, you always want to do better than you’ve done before. You want to improve as a filmmaker. You hope you’re growing with your films, so all of those pressures. It’s a very loved series of books, so there are pressures... But to some degree I’ve sort of really felt that on the last three films. The first trick was kind of under the radar, nobody knew what it was. The second trick, there was a lot of expectation. The Lion, The Witch and The Wardrobe was probably the most known and beloved of the series of books, so that carried those expectations. The movie was successful, so this one carries those expectations. To some degree, the last three films have felt kind of pressured."

Andrew Adamson on the similarities of Reepicheep and Puss In Boots from Shrek:

"I know. Well, the thing is: Obviously I was exposed to Reepicheep at a very early age. I read these books when I was about eight-years-old and in creating Puss In Boots, I didn’t consciously draw upon Reepicheep. But in retrospect, when I came back to do this film, I went, ‘Oh, no. It’s like I’ve done a lot of this.' So then it was a matter of finding a very different character. Obviously Reepicheep is not a Latin lover, so there was a very discernable difference. It was a hard character to find because of that. It wasn’t really until I got in a room with Eddie [Izzard] that we were really able to define somebody who was a very different character from Puss In Boots."