Everything happened on that film, yet there


was a tremendous closeness because of having to live and shoot in that house; a tremendous closeness. I would never exchange that experi­ ence, never. It was a great, great experience.


Like a family? Oh yes, it was. All week long, it would be


horrible weather. If we were outside, it would freeze up; if we were upstairs, it would hail; if we were inside and needed quiet, it would pour with rain and leak and do terrible things. But our one day off—Sunday—was always bright and sunny. Al­ ways beautiful weather. So we’d all play out on the lawns. It was a fantastic place. We’d be playing, and if somebody from Montreal or some of the backers dropped in, we’d just sit there and go [SÜLLEN GLANCE]. They’d try to play with us and we’d go [SÜLLEN GLANCE]. We were like the bad kids. “Leave us alone, this is our playground.” We got there at the end of September. It had


just started to change. I don’t know if you’ve ever been to Canada, but the colors are truly postcard colors. We had this huge lake around us, with green everywhere. You couldn’t see another house. It was very secluded.


Oliver Stone cast you in SEIZURE on the


basis of your performance in Hammer’s DR. JEKYLL AND SISTER HYDE. Did you try to bring anything from the one role to the other? Only in the sense that he wanted the same kind


of look; he wanted the same person, really. But the actual character—therezs a difference between the two. First of all, the Queen of Evil was absolutely sure of her position as Queen of Evil. I mean, there was no doubt in her mindaf all. There was no vying for power, she was All-powerful. Sister Hyde had that constant vying for power, because she was really half a person. That was the difference. Kali had no need to fight for control.


What did you think about Oliver Stone as a director? How much of Kali was your con­ tribution, and how much was his? Well, he created the character, for a start,


which I really liked a lot. Oliver has a brilliant mind, a brilliant, brilliant mind. He was inexperi­ enced, and what I liked about him was his humility. He would come to me—because they all considered me the “old pro” there. Jonathan, too. But Jonathan would... he’s adorable, but he was kind of like, “Well, I’m doing my own thing, leave me alone.” But I get involved. I get involved


50


in whatever I do. In whatever I do, I’m right there, and I want to see things work, so I take a responsible load on my shoulders. I saw that, at times, Oliver would kind of go,


“ I don’t know what to do. What do I do? This is not working, that’s not working.” I would sit with him and let him talk, and I’d say, “How about this...?” We’d just sit and talk. I was supportive to him, as a person, but he was really right there. Open to suggestions, too. But tough. Oliver can be a son of a bitch, he really can, but I loved that about him.


What sort of suggestions did you make? How to handle the technicalities of it all. He’d


say things like, “How can I shoot this scene, when this guy’s messing around?” It was per­ sonal, too, in a way. For example, the makeup artist was... amazing. He was also the special effects man. He was also a drunk. So we had that problem. But he was also a master, really bril­ liant, too. Oliver surrounded himself with supportive


people. For instance, he picked his characters very carefully. There were thirteen characters in the piece, and each one was very supportive to him as a director. That’s the most brilliant part of it, that he picked his cast so well. Hervé was perfect for it, and Jonathan (who played a little weak) and Troy (who played a kind of used-up person). And me—I’d been in horror films so it was, you know, “Here I go again!” Each of us was picked specifically to support


him. I was supporting him in getting everything done. I was there as a listening board. If he wanted to talk at night, at 4:00 in the morning, after we’d finished shooting, in this banquet hall littered with junk. Everyone else had gone to bed. Four hours later, we’d have to be up, but we would sit there for an hour. He’d say, “But what can I do about the


shooting, when he’s—?” I’d say, “Listen, leave him to me. I’ll handle


that, because we’re good friends, so I’ll handle that over here. You get on with that. And you cannot be so tough on so-and-so, because it doesn’t work. And you’ve got to give more heart to...” It was just little things like that, that sup­ ported him in getting everything together. I can’t think of any specific thing, it was just a regular little meeting we had afterwards.


Did your rooming in the house during the shooting schedule affect your performance? Of course.

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