Words matter. These are the best Madeleine Stowe Quotes, and they’re great for sharing with your friends.
I genuinely liked all of the cast members very much. Steve had a wicked sense of humor. I remember Russell coming to my rescue, once. I watched Eric evolve before everyone’s eyes. Maurice loved what he did, so. He treated his character with respect, down to the costuming.
My driver Kellie Frost and I would race these fellows home and they were always faster on the highway. We did the same with Daniel and his driver, and thus began a long series of jokes and competitions to alleviate the impossible hours and tensions this film provoked.
In the 90’s action pictures were all the rage. As a woman, I was fed up with them and I initially thought that the script was just another action film dressed up as a period piece.
Daniel was a wonderful and trustworthy partner. And a fine prankster as well.
Part of Michael’s uniqueness, I think, comes from the fact that he worked with music. He had a tape which he gave me with many different compositions, really eclectic. These pieces of music were sources of inspiration.
The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong.
Michael would take us on location and see how the colors worked in the forests and fields.
Yes, the marriage proposal was shot. Michael excluded the dialogue from the final edit.
There were mornings in the make-up trailer where I’d have fits of laughter because of the extraordinary daily events of the shoot. Sometimes, it was all too much to believe. But the wildest things happened.
Michael is a funny character, for whom I have a great deal of affection. He sat across his desk and seemed to be a bit of a blunt fellow. We began talking about the characters and he opened up about his vision.
As we were leaving the Huron camp, it was awkward filming. I think that the Huron watching us was there to create tension – maybe we wouldn’t get out. Nothing complicated.
He was also very clear that the decision to cast me as Cora was all Michael’s.
It was exactly what was released two months later with the exception of a couple of reaction shots which we went back in to get. I liked the movie very much and asked him what the studio’s problem was. I felt that he was at a point where they might have worn him down.
We were all so different, temperamentally from one another, it’s impossible to believe that we were together for so long. The cast and crew. How could we be more different from one another? It’s difficult to imagine. But something lovely came of it.
There came a point in time when Michael was under a great deal of pressure to alter the film in a way that was just disturbing to him. I had not seen the movie, yet. He phoned me in July of ’92 to look at his version.
The weather was turning cold and I remember that Dante was using nothing but natural light as his electric department was away, prepping the scene in the cave. We stayed on that rock for the whole day.
Sometimes I’ll turn the channel and there’s the movie and I can honestly say that those last few minutes always fascinate me. It’s one of the rare instances when image, music, and drama work effectively.
I phoned Joe Roth, who was head of the studio at the time, and told him how beautiful the film was, and that I was fully ready to support it, that Michael’s work was wonderful and I imagined that Daniel would feel the same. He listened quietly and read between the lines.
