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.

Yes, the marriage proposal was shot. Michael excluded the dialogue from the final edit.

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.

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.

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.

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 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.