The art direction on Touching Wild Horses was the embodiment of details speaking louder than words. Co-Producer, Paco Alvarez observed, "Tom Carnegie slid a fantastic sob of keeping everything to a minimum. Anything that Fiona had constructed was built from raw materials or was shipped in from the mainland Every little piece is a detail about the personality of Fiona: her work, the horses, the items which allow her to survive in a hostile environment."

Complementing the landscape of Touching Wild Horses was the costume design. Morganne Newson faced the challenges of creating a look for a main character who lived in a small hut. Jane Seymour, who was once a Bond girl and has graced the cover of magazines because of her beauty, had to be transformed into an academic hermit. "Jane is naturally gorgeous and elegant so I had to make her look as if she had lived in this hut for twenty years. The irony was that putting her in army pants made her look too bulky, but well-fitting jeans looked too Malibu," says Newson. "The other thing is her character wouldn't be inclined to be overly materialistic. She lived in her head, not out of her closet. This meant that her clothes would be functional, not fashionable. From a cinematic point of view, I had to show a change of days and to do this, she had to vary the wardrobe. This could easily have ended up being a "jeans and plaid shirts' show, but we also had to convey change of moods. So we used cool colors for unhappier times, and warm colors for the happier times."

At the centre of this film are the horses themselves, roaming over the sand Not a single member of the cast or crew was left untouched by them. Lindo explains some of the trick of the horse trade; "I've worked with horses before, but never to this extent. You first have to see what the horses can do and then work the scene around that rather than expecting them to hit their mark. We have to be a little more flexible.
But we have Lee Phillips, a wonderful wrangler who's done a great job of training the little foal who is only two months old and he's doing some pretty amazing things. I'm very excited about the horses. I was looking for the spiritual magic of the horses and their effect on the people."

Lewis Chesler summed up those expectations, "The horses bring to this film all that people can project onto them and understand and live through them given that they are part of the natural universe as well. We are grateful for that."

Lewis B. Chester and David M. Perlmutter (television series including, The Hitchhiker, Hidden Room, and Sins of the City and feature films including Undertow, Bear With Me, Ms. Bear and Zebra Lounge) are partners in Chester/Perlmutter Productions, which specializes in filmed entertainment and television programming.

Since its inception in 1989, Chesler/Perlmutter Productions has built a successful record of production and development with almost every significant U.S. and Canadian broadcaster and distributor, and many broadcasters and distributors in France, Germany, Italy, the Netherlands, and the United Kingdom. They have produced over $250 million in television and theatrical projects since they started, making Chesler/Perlmutter Productions one of Canada's largest privately owned production companies.ApolloMedia, a major German investor in the world film and television industry was a co-producer of the film together with UK producer Grosvenor Park Productions.