filming her underwater sequences:
"Those two days in the tank almost killed me. It was really hard and
frightening for me. It was night, so I was filming in a car twenty feet under
dark water. It was a great experience, but it was hard and I was scared."
reteaming with Gere Back to top
shooting the collapse of the Silver Bridge:
"It was a very elaborate process deciding how to balance art and
commerce. My imagination would say, 'I want this to happen,' and the budget
would say, 'You can have a third of that!' I wanted to make the bridge feel
aggressive: I let the sound and camera do a lot of the work. There are a lot of
technical mistakes in that sequence - shots where the camera rolls go out -
that I purposely put in because when I tried to play it too straight it was
"I went to Point Pleasant and hung out there and went to where the
sightings took place. It seems like there is something very strange in the
earth out there, pulsating. And the people are all very good and
straightforward - they just happen to be in this odd place where these tragic
and very spooky events took place."
"When Richard and I finished Primal Fear I was always hoping that
we'd get to work with each other again, but that doesn't happen very often in
films. I was really thrilled when they asked me to come onboard with this one.
Richard has been extremely supportive and I always know that if I'm ever in
trouble, if I called Richard he'd be right there. I hope everyone has a friend
"This story we're telling is really psychological. My character has gone
through a horrendous loss, losing his wife in the beginning of the movie.
Everything that happens for him relates to that event, that trauma. So we have
our own universe being projected in time. I think one point we're trying to
make in the film is everyone sees something different. Some people hear
something; some people see something; and some people feel something. It's the
interpretation of reality based on one's mental make-up, one's emotional