American actress
I'd just love to see a great love story, and nobody makes them anymore.
I love the life of an actor because you spend brief amounts of time with other people and then you just leave. I need to be alone a lot, and I need the outdoors.
Madeleine Marie Stowe (born 18 August 1958) is an American actress.
As quoted in The Los Angeles Times (30 January 1994)
I am really astonished at the number of violent acts.
I'm not saying that the movies created these situations, because there are a whole bunch of things.
But a lot of people in the movie industry tend to run and hide from it like ostriches. Movie industry people are definitely in denial right now, but you do become de-sensitized to violence when you see it on the screen so often.
Let's face it, violence exists for one reason in movies, and that's to get an effect, create an emotion, sell tickets.
On violence in movies inspiring real-life violence, as quoted in Jam Showbiz (6 June 1999)
After you have a kid you're just so happy to be alive!
"Stowe Away" - interview in SPLICEDwire (14 June 1999)
They have a tendency to get beaten up or thrown off a cliff, I know. Why does that happen with me?
On the roles she plays; "Stowe Away", interview in SPLICEDwire (14 June 1999)
Oh, it was just a movie that should have never been made. I'm horrible in it. I look at myself in it and think, "Oh, you stiff. Go die!" I can't even look at it. The only thing I can say about it was that it brought me to Texas.
On the film western Bad Girls (1994).. as quoted in an interview appearing at reel.com (10 July 1999)
I'd just love to see a great love story, and nobody makes them anymore. You have great actresses like Cate Blanchett — she's fabulous in Pushing Tin and Elizabeth — and you don't use them.
Interview appearing at reel.com (10 July 1999)
Mohican Press interview (2005)Edit
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.
"Back from the Wilderness … Miss Cora Munro" an interview about Stowe's role in the 1992 movie The Last of the Mohicans (25 March 2005)
We began talking about the characters and he opened up about his vision. He's 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. And I remember completely going with it.
On talking with Michael Mann about his screenplay for Last of the Mohicans.
While I didn't know it at the time, Daniel had suggested to Michael that I play Cora before we had ever met. And prior to our meeting, I was at a restaurant with John Bailey, the director, when I felt this man looking over in our direction and smiling a good deal. I realized, after leaving, that it was Daniel. He later told me that he was having lunch with Michael and had coincidentally asked him earlier that very day about me. It's just a funny thing, isn't it? And I was terribly flattered when he told me this tale. He was also very clear that the decision to cast me as Cora was all Michael's.
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. When Michael began speaking about the character's inner life, it was clear that his own inner life was strong, as well. I then saw Cora in a completely different light because of Michael's orientation. It became easy to personalize her.
I feel like everything I tried to do is in there.
A previous statement about her role in Last of the Mohicans, quoted by the interviewer.
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. 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?"
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.
The moment with Hawkeye is all about mutual attraction, expressed without filter from him, and a surrendering of social guardedness from Cora. She accepts his directness as her own.
You are so funny to ask me about "The Look". I've been asked many times, and I really am not sure what anyone means.
On her expressions in the scene where she asks "What are you looking at, Sir" and Hawkeye replies, "I'm looking at you, Miss."
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. The next day at work, I went straight to Daniel and told him so, saying something to the effect that "It was my fault". We told Michael my opinion (and this was unusual), he thought it over, watched dailies (which we were not allowed to see) and came back and said "You're right".
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 (if that's at all possible).
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.
On getting to the location of the last scene in the movie.
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. And I genuinely liked all of the cast members very much.
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. And Daniel was a wonderful and trustworthy partner. And a fine prankster as well.
There came a point in time, with all the difficulty, all the frustration, where I was quite content to be where I was. I suppose one could call it a kind of enchantment, I don't know. The shoot was so difficult on the crew and the extras. Often, it was unpleasant for them and many left. But 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. Perhaps the others felt the same, I'm unsure, and that is what you might feel when you watch the movie. 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.
Madeleine Stowe at IMDb
Madeleine Stowe Online
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