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The spectacular setting of the scene contributed to the peaceful atmosphere, too. When the crew broke for lunch, I was invited along to a buffet feast of lamb, asparagus, potatoes and bread pudding. We each found a place on the ground, looking out on the greenish brown hills and mountainsides, which contrasted beautifully with the rock and snow, and the brilliant blue, lightly clouded sky. The vistas, unencumbered by rocks or trees, revealed much higher, snow-capped peaks and deep, almost purple, shadowed valleys that seemed to go on and on. No wonder these mountains are named the New Zealand "Alps."

The mutual respect between Adamson and his co-workers extended to other relationships on the set as well—especially between Swinton and Moseley. Swinton spent the afternoon with Moseley going over and over a tricky, technical fall that he was to do, when it looks like all is lost in their duel. After several brave parries in which Peter holds his own but is tiring fast, the Witch moves in for the kill. Peter stumbles backward, making himself even more vulnerable to her two gigantic swords (not the stone knife of Lewis's book, by the way). The Witch then rises up to her full height—the book says she's seven feet tall—and is set to run Peter through, when Aslan arrives and saves Peter's life.

Swinton is a highly respected actress, well known in the film community for her edgy roles in films like Orlando and Young Adam. Actresses with her reputation often make demands and are rude to their fellow actors; Hollywood lore is full of such stories. But Swinton, without being condescending in any way, patiently discusses with Moseley suggestions for movements and actions, just as if he were her equal. And working with one of the best action choreographers in the business, Phil Neilson, they repeatedly rehearse their moves.

Time after time, they try new angles and new movements, but I don't hear a single complaint or criticism, or even an impatient huff. The cast and crew's patient respect for each other is palpable.

Several circumstances about the scene made it a situation where tempers could flare. The scene called for more rehearsal than usual, because the weapons weren't the fake ones of longer shots, but the real—and dangerous—ones used in close-ups. Moseley is wearing heavy armor, and Swinton's imposing dress is heavy and rough. Though she's not wearing the six-inch platform shoes that bring her 6-foot-1 frame closer to the seven-foot witch of the book, the movements are still obviously difficult in the clothing both actors have to wear. The weather is cool enough, but the extra lighting needed for the scene adds more discomfort to the work.

None of this seems to matter, though, as grips, continuity assistants, director, stars and a host of others go on and on, working to get it right. I'm impressed by the professional attitude everyone seems to have about their job, and I later find out what's behind it.

Later in the day, I talk with one of the crew members back in the green screen tent about the professionalism, respect, and camaraderie I've seen on the set. And the reason becomes clear: Most of the people working on this movie—two glaring exceptions being Swinton and Johnson—had read the Narnia Chronicles as children and revere them as the powerful shapers of a child's heart that they are.

"No one working on the film wants to make the mistake that people will point to later as evidence that the movie didn't match up to the book," the crew member told me. "We all love the story too much; we don't want to fail."

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