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.
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.
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.
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.
It was treacherous. I think someone was injured. But I did love being there, we all did.
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.
Daniel was a wonderful and trustworthy partner. And a fine prankster as well.
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.
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.
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.
