I'm reticent to say much more, but we would like to begin in the coming year. We'd like to shoot through the seasons because of the passage of time. This project is the great love of my life.
From Madeleine Stowe
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.
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.
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.
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.
Michael would take us on location and see how the colors worked in the forests and fields.
For the first two weeks of filming, I remember bristling at some of the occurrences on the set, none of which directly involved me. Then I surrendered to the environment, to Michael's method, and became much happier, even though no one knew what to expect.
I remember feeling that Michael was extremely sensitive when it came to that moment. Most directors are and they usually rely, at least in my experience, on the actress to take over. And Michael is a gentleman.
Yes, the marriage proposal was shot. Michael excluded the dialogue from the final edit.
It was treacherous. I think someone was injured. But I did love being there, we all did.
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