Our first point of discussion is the hunt. (...) My idea is to start the film with an image of the vixen locked out of her lair which has been plugged up. Her terror as she's pursued across the country. This is a big deal. It means training a fox from birth or dressing up a dog to look like a fox. Or hiring David Attenbrorough, who probably knows a few foxes well enough to ask a favour.
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Lindsay [Doran] goes round the table and introduces everyone -- making it clear that I am present in the capacity of writer rather than actress, therefore no one has to be too nice to me.
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I ask Laurie if it's possible to get trained fish. Lindsay says this is how we know I've never produced a movie.
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Difficult for actors to extemporise in nineteenth-century English. Except for Robert Hardy and Elizabeth Spriggs, who speak that way anyway.
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Jane reminds us that God is in his heaven, the monarch on his throne and the pelvis firmly beneath the ribcage. Apparently rock and roll liberated the pelvis and it hasn't been the same since.
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(On period costume posture coaching:)
"We all stand about like parboiled spaghetti being straightened out.
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The fire alarm went off. Fire engines came racing; we all rushed out on the gravel drive, everyone thinking it was us. In fact, one of the elderly residents of Saltram had left a pan on the oven in her flat. Apparently this happens all the time. The tenant in question is appearing as an extra -- playing one of the cooks.
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Sense and Sensibility signs litter Devon -- arrows with S
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Shooting Willoughby carrying Marianne up the path. They did it four times. 'Faster,' said Ang [Lee]. They do it twice more. 'Don't pant so much,' said Ang. Greg [Wise (playing Willoughby)], to his great credit, didn't scream.
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Shooting Willoughby carrying Marianne up the path. ... Male strength -- the desire to be cradled again? ... I'd love someone to pick me up and carry me off. Frightening. Lindsay assures me I'd start to fidget after a while. She's such a comfort.
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