Alzheimer's patients. No one has a particular grasp of the truth in that sense, which is a very attractive thing as a filmmaker. It's much more interesting to do something that is complex. The mind is a fascinating thing and when my father had Alzheimer's I was constantly wrong-footed. The version of Alzheimer's he had, which seems fairly typical, is not something I had seen conveyed particularly accurately before. It's something that can really be joyous and quite funny and can be incredibly heartbreaking. I think you tend to get one element of the disease -- maybe memory loss, but none of the violence or you might not get the hallucinations and this felt, I hope, like a slightly more rounded version of it. JR: A lot of it came from your experiences with your own father, did that personal investment in the story make it an easier or harder film to write? MW: It felt a much easier film to make in the sense that every film is hard to get together, especially to finance, and whenever we hit a stumbling block -- which was frequently -- then I would least have a lot of ammunition and drive to get this made. Each one then felt like a challenge rather than a defeat, and when we were writing the script we had an endless amount of material and information. Every time we decided to change the script or do something else, I would know how my Dad would react