Word: morrison
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Dates: during 1990-1999
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...becomes a freed slave, not unmindful of Sethe but unchained to her. If Beloved is to succeed with viewers, it will be in part because they recognize that the film belongs, eventually, to Elise; she is the hope that can rise from hurt. "Watching her was so gratifying," Morrison says. "Every time she was onscreen I was happy. You know that feeling: 'Oh, she's back...
...these things, and it was great theater every day watching her do it. There were times when Oprah the person would be so overwhelmed with compassion and empathy for Sethe the character that her emotions would take her far away from where Sethe needed to be. As Toni Morrison told me, 'Remember, Jonathan, Oprah cries. Sethe doesn...
...Morrison had attended the first read-through--what she calls "stroke-the-author time"--and visited the set, where she fell in love with the costume people and their meticulous work. "The fabrics they had!" she exclaims. "They had boots from Italy with the buttons up the side. And the underclothes with six inches of lace on the skirts, the likes of which you have not seen. How many people had been blinded making these things...
...that the movie was made, Morrison had to see it. On first viewing, she inevitably compared it to the drama she had dreamed up, the landscape she'd devised. "Was this the house? Was this the yard? Is this the way the stairway looked?" Well, no: "The house I had in mind was much more elegant, more middle class, because it had belonged to an upper-middle-class white abolitionist family. Their version downscaled...
...would have taken about a day. Which is why I never would participate in the movie in any way, except to shoot my mouth off. I think moviemakers ought to do the work they do and I should do the work I do." It took three viewings to provide Morrison with the distance she needed to get near it. "And I found myself mesmerized by looking at the story, not thinking it, but looking...