 He was also very clear that the decision to cast me as Cora was all Michael's. |
| 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. |
| Michael would take us on location and see how the colors worked in the forests and fields. |
| 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. |
| Working on the accent helped, enormously. I will tell you that when I brought Michael a correct "British" accent, one that my dialect coach was happy with, he hated it. |
| I've never returned to the locations. I do remember certain days more clearly than others and certain locations with a sense of nostalgia. Perhaps one day, I'll bring my daughter to see them, if she's interested. |
| It was treacherous. I think someone was injured. But I did love being there, we all did. |
| 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. |
| I remember nearly having a fit of the giggles during the reading because dear Daniel was SO respectful and serious and I was finding the whole situation funny because I was speaking to his profile. |
| 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. |
