Because of the tension and difficulty, I remember trying to do the silliest things when we weren't rolling cameras, anything to lift the spirits. But once on set, it was important to have full concentration.More Madeleine Stowe [09/15/2006 12:09:00]
Daniel and I simply expressed what we felt was appropriate for the scene and Dante Spinotti had an innate sense of where to place the camera. And as I remembered, he used a hand-held to get a sense of raw beauty.More Madeleine Stowe [09/15/2006 12:09:00]
Daniel was a wonderful and trustworthy partner. And a fine prankster as well.More Madeleine Stowe [09/15/2006 12:09:00]
David kept nagging me, saying that he fully believed in the project. I read it twice more, then finally sat down with Michael to discuss the film.More Madeleine Stowe [09/15/2006 12:09:00]
Difficulty also creates its own kind of beauty, I suppose. And while I don't revisit it unless asked, there is this sense of apartness I felt during that period of time from our own world.More Madeleine Stowe [09/15/2006 12:09:00]
He also didn't like a lock of my hair and said that he couldn't get into the moment without the hair being just right. I quietly knew that he was anxious and that the hairdo wasn't the real issue. But we all let it go and came back to the scene sometime later.More Madeleine Stowe [09/15/2006 12:09:00]
He was also very clear that the decision to cast me as Cora was all Michael's.More Madeleine Stowe [09/15/2006 12:09:00]
I cannot tell you where my interpretation of Cora began and Michael's ended. I often times felt as if he were in the scenes with us, such was his imprint. So when I said, "I feel like everything I tried to do is there", it is less because of what I did than it is a case of Michael keeping his word.More Madeleine Stowe [09/15/2006 12:09:00]
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.More Madeleine Stowe [09/15/2006 12:09:00]
I know that Michael met with the studio again and drew the line. In any event, Joe Roth was very proud of the film and the studio had a happy ending.More Madeleine Stowe [09/15/2006 12:09:00]
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.More Madeleine Stowe [09/15/2006 12:09:00]
I remember that she had these lovely eyelids, lovely eyes, and was still on that border of shedding a kind of gawkiness. She's spectacular on that cliff with Wes. I saw her a year later and she'd completely grown up. The transition was made and she was beguiling.More Madeleine Stowe [09/15/2006 12:09:00]
I remember the day vividly and how proud Russell felt to be an actor. Something clicked in him as he gave his last speech, and he was so happy.More Madeleine Stowe [09/15/2006 12:09:00]
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.More Madeleine Stowe [09/15/2006 12:09:00]
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.More Madeleine Stowe [09/15/2006 12:09:00]
Kellie was newly widowed, had grown up around horses all her life, and could hook up a trailer and drive her rig better than any man. She became my very close friend, and I'm godmother to her first-born.More Madeleine Stowe [09/15/2006 12:09:00]
Michael Mann's an extremely thoughtful and sees grand issues both social and political in an interesting way. Quite honestly, I wasn't certain how some of his ideas were applicable to the screenplay, but he was heartfelt and adamant about them.More Madeleine Stowe [09/15/2006 12:09:00]
Michael used the preproduction period to study our faces. He'd have me come to rehearsal with my hair up and speak Cora's words. He'd do a semi-circle and just look at me from every angle. I cannot express how rare it is for a director to do this.More Madeleine Stowe [09/15/2006 12:09:00]
Michael was very specific during rehearsals. When he was pleased, he always had this charming grin.More Madeleine Stowe [09/15/2006 12:09:00]
Michael would take us on location and see how the colors worked in the forests and fields.More Madeleine Stowe [09/15/2006 12:09:00]
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.More Madeleine Stowe [09/15/2006 12:09:00]
One day, during preproduction he called me into his office. I thought that he was displeased with something and asked him, "What is it?" He said, to my surprise "I just wanted to hang out". And that was it. I don't even recall that we had much to say at that point.More Madeleine Stowe [09/15/2006 12:09:00]
Saving Milly was a break from this effort because I felt that it was time to be part of something that could shed light on a disease everyone feels they know, when most know so little.More Madeleine Stowe [09/15/2006 12:09:00]
Some of the imagery was inspired by Wyeth's illustrations. The best of which, I think, is the moment when Magua stands before Chingachgook to accept his death blow.More Madeleine Stowe [09/15/2006 12:09:00]
The best directors I've worked with have always had a strong sense of music and movement. These two things are inseparable. And Michael used them so effectively in LOTM, particularly during the last ten minutes of the film.More Madeleine Stowe [09/15/2006 12:09:00]
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