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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. (friends and friendsh)
Michael insisted that the accent be less formal and more in keeping with what he called the "rhythms" I had used in my initial reading. Wanting things to be right, I've always been troubled by that decision. Michael responds to things emotionally and his instincts had to be trusted. (unknown)
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. (character)
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. (character)
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. (character)
Michael was right there, asking for specific shots from Dante. Everything fell into place and it was a particularly lovely, unforced moment. You ask if Hawkeye and Cora make love - -The answer is, that none of us ever felt that to be an answerable question. (character)
Michael was very specific during rehearsals. When he was pleased, he always had this charming grin. (character)
Michael would take us on location and see how the colors worked in the forests and fields. (character)
My agent, David Schiff, forced me to read Michael Mann's screenplay. While upon reading it once, I thought it was a nice action picture, I didn't feel any particular affinity for either Cora nor the story. (unknown)
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. (relationships)
On the last day of shooting, we were all so exhausted that no one knew what they were doing. After lunch we had make-up touch-ups, only it was Daniel doing my make-up this time. When the AD's called for us, Daniel replied," I'm going as fast as I can". (unknown)
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. (unknown)
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. (unknown)
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. (disease)
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. (work)
Sometimes he'd launch into a discourse, a convoluted discourse about something or other, and I had no idea what he was saying. I'd tease him about it, "What on earth are you talking about?" And he was capable of blushing. (unknown)
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. (work)
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. (direction)
The emotion, and surrender was what was important to Michael and I believe he used most or all of what we shot. (emotions)
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. (movies)
The location was very difficult to get to. I recall rock-climbing a good deal of the way in that long skirt, and I felt terrible for the crew members who had to haul the heavy equipment. For some reason, they couldn't get there by helicopter. (unknown)
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