The incomparably lush, richly diverse paradise of Kauai
has beckoned Hollywood as a preferred "tropical movie" location
site since the era of silent films.
Kauai's first taste of the movie business come in 1933,
when the legendary director Lois Weber brought the film "White
Heat" - a romantic story of plantation life and forbidden love in old
Hawaii - to life on Kauai's west side.
More than six decades later, Kauai has served as an
unforgettable backdrop to more than 50 films, including "South
Pacific," "Blue Hawaii," "Jurassic Park," "The Lost World,"
"Outbreak," and Walt Disney Pictures' upcoming live-action
feature, "Mighty Joe Young." Yet perhaps only Touchstone Pictures'
Six Days, Seven Nights" shows Kauai so magnificently, revealing
parts of this stunningly majestic, dramatically exotic island never
seen before in any motion picture.
For nearly three months, location filming spanned the
entire map of incomparable Kauai -the oldest island of the
Hawaiian archipelago. Production continued on the beaches of Los
Angeles in mid-autumn. The film company completed
approximately one month of soundstage shooting in Los Angeles.
In 1995, noted producer Wallis Nicita brought writer
Michael Browning's spec script to producer Roger Birnbaum, who,
in turn, bought it for Caravan Pictures. "The way I choose a script
is very basic," producer Birnbaum says. "If I get goosebumps and
have to go home and tell my wife I just read something wonderful,
that's the criteria. When I read 'Six Days, Seven Nights' it was
funny and romantic. I just sparked to it
Birnbaum promptly presented the project to international
film star Harrison Ford. "The reason I thought Harrison would be
perfect for the part is that he conveys all the qualities the part
required: wit, manliness and confidence. When hes on screen,
even though there's trouble around, you feel somehow safe
because he's there. That's a very rare quality. In the film, the main
characters are stranded on a desert island and we needed the type
of guy who no matter what happens, is going to make things okay."
The search for the "perfect director" to bring the film to
full-bodied life followed. Luckily, for all involved, fumed director
Ivan Reitmun was also smitten with the script - and the opportunity
to work with Harrison Ford.
Ford, however, had a concurrent commitment to film the
presidential thriller "Air Force One," and requested that he be
permitted to complete that assignment before taking on the
romantic adventure of Touchstone Pictures' "Six Days, Seven
Nights. Details worked out, and Ivan Reitman begun working with
screenwriter Michael Browning to hone the script - deftly infusing
it with the famed 'Reitman Touch.'
Casting the female lead of Robin Monroe, producer
Birnbaum remembers that director Reitman called him one day and
said he wanted him to come over and see Anne Heche who was
returning for another audition, this time to read with Harrison Ford.
"I had met Anne years ago on an audition for another film of
mined Birnbaum recalls. "At that time I hod not heard of her, but I
was very taken with her audition and never forgot it. At this
reading with Harrison, Anne knocked us out. she was funny, she
was real, she's very beautiful, and coupled with the fact that she
had an immediate chemistry with Harrison, made us believers.
When she led the room we all looked at each other. We agreed she
was ideal for the role."
At the same time, Reitman marshaled his creative team
into pre-production to prep and scout for an early July start dote.
On schedule, principal photography got underway on July 7, 1997.
During the pre-production period, noted production
designer J. Michael Riva hod token the filmmakers on numerous
location scouting excursions, but all the while he remained
convinced that everything that was needed for the
adventure and richness of the script and the diversity
of locales was available on the island of Kauai.
Riva's instincts proved to be correct; indeed,
according to him, "There wasn't a spot on this lush island that
Ultimately wasn't utilized to give the film its beauty, texture,
grandeur and richness."
Director/producer Ivan Reitman - who has run the genre
gamut in a string of blockbuster films - nevertheless holds that
Touchstone Pictures' "Six Days, Seven Nights" was probably the
most physically demanding film he's ever undertaken.
He reveals, "I guess the toughest parts of it were the
locations because we chose sites that you had to get to by either a
helicopter or boat, or usually a combination of the two. We really
wanted it to look like it was a deserted island - a very magical,
exotic place that you've never been to before, and no one else has
either. And to accomplish this, we had to face many physical and
logistical challenges."
As Reitman continues, "The film is romantic and really
funny - similar to a certain type of film made in the '40s and '50s
in exotic locations featuring strong people with a strong point of
view, and with a lot of give-and-take between them. Magic is
created by placing our heroes against very tough odds as a way
of creating tension and fun.
Six Days, Seven Nights' gave me the chance to do that
type of filmand the challenge was finding the correct tonal level
between the two actors," Reitman further offers. "I think Harrison
Ford and Anne Heche pulled it off brilliantly.
The core of the story," says Reitman, "is the relationship
of a completely mismatched and hopelessly incompatible man and
woman; Quinn Harris Harrison Ford) and Robin Monroe {Anne
Heche), who crash-land on this tropical island in the middle of
nowhere. All of us probably have had the fantasy of being lost on
a desert island, dreaming about all that freedom.
"For this film, I took the fantasy a step further," says the
director/producer, "I thought it would be fun to take two very
opposite people, put them into a difficult but humorous situation
together and see how they survive - and what happens between
them."
Reitman reveals another key element for him wanting to
take on this film. "I've always wanted to work with Harrison Ford,"
he says. 'He's one of the great film actors of all time. Harrison is
one of a very few legendary stars who can do action and great
dramatic work equally well. You believe him in whatever part he
plays - action, drama or comedy.
"And, like earlier film legends, Harrison has a certain
grace and strength that makes us want to watch him. The
opportunity to work with Harrison was something I Certainly didn't
take lightly. I thought the chance to be able to do a combination of
adventure, comedy, action and romance with him was a wonderful
opportunity."
Reitman and Ford got on famously from the start. As
Reitman explains, "What one tries to do as a director is win the
trust of the actors so that they have a sense that they con count on
you. The spectacular thing about Harrison Ford is he's really the
greatest non-verbal actor working in films today; he can do more
without words than anyone else.
l think it comes from doing so many action films. He
knows how to sell a moment with a look, with a glance, with an
eyebrow slip, with something he does with his chin ... and because
he works so well non-verbally it really gets into the comedic area,
because so much of comedy is not just how you say a line but it's
the little movement of the face or the shoulder that accents the line
just the right way that either results in comedy or note."
Discussing his immediate attraction to the project when
offered the film role, international superstar Harrison Ford says, al
thought the screenplay was really funny. The relationship with the
character Anne played was classic, the attraction of opposites. The
deserted isle provided an exotic context. I thought that these
elements had the potential for a very entertaining movie. It also
gave me the opportunity to play a character who is very different
to the ones I'd lately played."
Ford was also attracted to his character's background
and the personal mystery of his private life that he keeps very much
to himself. Quinn is an ex-patriot American who has made a new
life in Tahiti, flying cargo throughout the islands. He's a bit of a
curmudgeon...we sense that there hove been some serious
disappointments in his life," Ford says.
"When the character played by Anne Heche shows up at
the airport for the last stage of her journey to Makotea she's
expecting a conventional commuter flight, but that aircraft is down
for maintenance and Quinn is filling in with his venerable
DeHavilland Beuver," Ford notes. "Anne's Character takes one look
at this well-used plane and its scruffy pilot and has immediate
reservations. When they are forced, by an unexpected storm, to
make an emergency landing on a deserted island they begin to
develop a relationship out of mutual dependency. As they are
tested by the events and adventures that result they grow to respect
each other and an affection develops. By the end of their adventure
something has happened to both these characters which changes
their lives forever."
Ford is quick to say, "Anne is an intelligent and versatile
actress. She has helped to create a very specific and sympathetic
character who is every bit the equal of Quinn. She is both
emotionally engaging and funny as hell. I loved working with her."
For her part, Anne Heche says, "Harrison Ford and I feel
that our collaboration with director Ivan Reitman has been
tremendously satisfying. We spent a lot of time talking about the
script. He's been a very keen observer, and I've learned to trust
Ivan's eye and his instinct.
"At the same time I think he's learned how to navigate the
delicate relationship between the director and the actor; Ivan has
hit it for me just right - the right amount of freedom, the right
amount of encouragement, the keen critical eye, and the control of
the overall tone and tempo of the film has been very well observed.
"And sometimes because he gets so much across, I had
the sense that I can pull him a little bit or add things, and it was a
lot of fun, and we worked in grades of emotion and energy."
Of the talented Anne Heche, Reitman says, "She's got a
wonderful 'fine-tune knob' as an actress. We could start very subtly
and then get very brood by the end, depending on the needs of the
scene. It was an exciting process.
"And, says Reitman, "I think this keeps the film
interesting, exciting and unpredictable from start to finish. You see
the sheer intelligence in their work in every frame of the film."
Producer Birnbaum concurs staying, "Anne is a terrific
actress and a terrific comedienne. To be a great comedienne I think
you need to have strong dramatic skills, which Anne has. But she
shines as a comedienne. For instance, there is a scene where she's
on board the plane and they're hitting a storm and she has to take
some medication to calm herself down, well she takes a little too
much. Her acting here is terrific and so wacky she reminds me of
Lucille Ball."
Anne Heche considers her being cast in Touchstone
Pictures' "Six Days, Seven Nights" as a particular career highlight.
I was dying to do a romantic comedy. I had just come off 'Wag
the Dog' and I really wanted to be back in romance. I wanted to
do a comedy because I just love that genre. Reading the script, I
knew it was right for me.
"Finding out, of course, that I would be working with
Harrison Ford made me flip out," she says with a smile. "There are
some actors that you put in the 'I would love to work with but I don't
think I'll ever get a chance to category', and so I was just thrilled to
have the chance to work with Harrison Ford.'
As she further offers, "I've always enjoyed Harrison's
movies. I like seeing people in the movies who are larger than life,
and Harrison is, of course, huge. But I think one of the things I loved
about him doing this film is that it's not a huge action film. He's not
playing a President or the greatest CIA agent in the world. He's
playing a real guy - someone who is heroic on a real level. It's
wonderful to see him in this kind of a role."
The actress also reveals, "Beyond that, I just love
Harrison's sense of humor. He's hilarious and charming and more
real than I think he's ever been on screen. And I've kind of fallen in
love with working with him. And, I have to admit, there are
moments when I stood back during filming and would think to
myself, 'oh, my God, it's Harrison Ford - the biggest movie star in
the world!' But I have to tell you, he doesn't bring that onto the set.
"He's so involved in every facet of the movie. Of course,
he's a pilot and knows a lot about planes which helped the movie
considerably, but he knows so much about the entire filmmaking
process. And he doesn't do anything half-hearted. And he's
certainly a manly man - he knows exactly what to do when you
need to get something together."
As David Schwimmer heartily concurs, "I'm probably
Harrison Ford's biggest fan, so the idea of being in the same movie
with him was thrilling - apart from it being a wonderful script and
the chance to work with Ivan Reitmun and Anne Heche. Harrison is
the consummate professional. He knows what he's doing every
minute. He knows every aspect of the creative process - lighting,
sound, camera, stunts. It's amazing to watch him work. And, at the
same time, he's a lot of fun and a tremendously nice guy."
Anne Heche has equal high praise for her "Six Days,
Seven Nights" director/producer. "I was thrilled to have the chance
to work with Ivan Reitman. To say you want to do a romantic
comedy like this and get Ivan Reitmun is remarkable! He's brilliant.
Everything about this film from the start seemed perfect for me, and
perfect for what I wanted right now in my career. I said yes very
easily - as soon as I was offered the role."
Heche adds: "I had just done 'Volcano' last summer, and
I thought after 'Volcano' I probably wouldn't do another action
movie. However, when I read 'Six Days, Seven Nights,' I was
thrilled that it was a fun romantic adventure about two people,
about talking. It was fantastic."
As director/producer Reitmon says with obvious
admiration, "This film is a great adventure, and quite an odyssey
for Harrison's and Anne's characters. They have to trek up and
down mountains, cross rivers and escape all kinds of peril.
"They were constantly getting kicked about, dropping
and rolling and rolling, in water, on sand, on hard rocks, or forced
to run in dangerous places. There were a lot of scrapes, but
fortunately, nothing really serious. Still, Harrison had more than his
share of close calls and Anne broke her toe on the first day of the
second week of shooting - which didn't slow her down at all. Anne
is in great shape. She does hours of yoga every day. She's very
strong. She had no problem about giving 110% and doing the
work that had to be done."
Reitman vividly recalls one scene: "After they crash on the
island, Anne sleeps in the plane. She opens the door and discovers
where she is for the first time - and basically flops out of the
airplane. She must have done 15 takes where she did this full-out
belly-flop into the sand from a platform about 10 feet high. she did
it over and over without complaint. She was amazing."
Harrison and I met and we got along great so l thought
how simple and fun this was going to be," Heche says. "But instead
we arrived in Hawaii to be flown into remote places in the middle
of thorny fields, crawling through waterfalls, and trudging through
oceans. It was actually more of an action movie than I ever
imagined, especially since initially thinking that it was just going to
be a simple, sweet romantic love story."
As she reveals, "For the crew and everybody, it was a
really grueling experience. I loved every minute, but
everybody had to carry everything over mountains, and hills,
and down ditches, and, of course the sun was
beating down all day. Think of what the crew has to take over a
mountain in order for you to shoot there - it was a huge
Undertaking, and bigger than anything I ever imagined - and
much tougher than anything I'd ever done."
Illustrating this point, Anne amusingly recalls some of the
incidents facing her character in the film: "She's a New Yorker, not
an outdoorsy person. Here she is, on a deserted island, climbing
up mountains, having to fetch water. She has to get dirty, she falls
into ponds and has snakes crawling up her shorts. She fights with
pirates. She has to get on a plane held together by sawdust. Things
she would never imagine herself doing - before this, she couldn't
bear even cracking a nail. But through all of this, she finds herself."
Heche was immediately drawn to the complexities of her
highly driven, fast-talking character of Robin. She's fascinating.
Everything in her life is completely fine, organized, planned, and
that's the way she lives. What happens when she meets Quinn is
that her entire life opens up - and she gets down to the bore bones
of herself in being with this man. And I think that's kind of how we
all are - we kind of live our lives and everything seems fine until we
meet the love of our life and go, oh this is what life's all about."
Heche further notes, "Quinn and Robin have a great
relationship. I liken it to a very old-style movie relationship where
the characters would butt heads in that fast-talking, fast-paced
banter - if you insult me I'll insult you back, I don't really like you
but I'm really crazy about you, good humor.
"And that's what's great about Quinn and Robin. They're
completely opposite people. She's very together and organized,
and he just lives his life freely doing whatever he wants with his life
on his island, with his plane - no one to answer to. But of course,
once they crash they have to come together and start working
together and in that they find love for each other."
Reitman praises his two co-stars, I loved working with
Harrison and Anne. I think their chemistry is very strong together.
That's what movies are about - how people react together; what
happens to them? Because typically I do comedy, I'm always
looking for those magical on-screen combinations - and Harrison
and Anne have certainly got it."
Heche equals the high praise, "I am in awe of how Ivan
conducted the entire symphony' in making this movie. It was
stunning watching him pull something like this off. one of the great
things about Ivan is that he's constantly aware of everything going
on around him, every detail in the process, and at the same time, he's
constantly looking to make things better every step of the way.
"He's constantly expanding the script, he's taking out things that
don't work, he's dealing with the dialogue even though there were so
many other difficult things to deal with logistically. He never lost sight
of the characters and staying true to the characters. And in doing
comedy, he always maintained the delicate balance of staying real. He
was wonderful to work with."
Echoes co-star David
Schwimmer, "One of the main reasons I wanted to do this picture
was the opportunity to work with Ivan Reitman. With him, this film
has a wonderful combination of romance, comedy and action -
like the classic comedies of Billy Wilder. I was very excited when I
read the script.
"Then, knowing that Ivan was directing made it incredibly
appealing for me - putting his unique twist on what he'd bring out
in the comedy. Ivan knows exactly what he wants and at the same
time allows a certain freedom for actors to play, giving us the
opportunity to tackle the scene different ways."
Film veteran Ivan Reitman freely admits that each of his
motion picture projects is a great learning experience for him. As
he reveals, "I like to try to bring the experience of my films from the
past to the new ones and try things that are fresh and also make
use of the good lessons that I've learned. Filmmaking for me is
always a continuing education and a continuing experience.
"They say that making people laugh is the hardest thing
to do, and I've tried to make a career at that. I've been very lucky
in that I've worked with some of the funniest people in the world
and I've worked with some very fine actors. I think that as long as
you're a really fine actor, you can be humorous in the right
situation as well - it's one of the great things about 'Six Days, Seven
Nights.' Harrison Ford's got all of this great charm and humor
about him, but he doesn't openly show that part of his personality in
his films. This film really shows this lighter, very amusing side of
Harrison."
Less than amusing, however, were the often-harrowing
adventures facing Harrison, Heche and the rest during location
filming. An inevitable outcome of undertaking a rough location
shoot is the possibility of inevitable physical danger - indeed, both
stars did get more than their fair share of bumps and bruises.
"I didn't mean for it to happen," says Reitman, but
Harrison and Anne seem to have gotten 'beaten up' constantly during
filmingpoor Anne got stung by a scorpion, she's been thrown around,
and got bumps and bruises all over the place. Harrison got bruises
everywhere and deep scratches all over his legs. Both Harrison and
Anne are real troupers, taking their share of hard knocks and not
complaining once."
Also, Harrison Ford's piloting abilities were praised to
the sky throughout shooting.
Accomplished airman Ford, certified to fly a variety of aircraft and
helicopters, took on flying the DeHavillond Beaver himself in the
film, which, to the producer/director made a real cinematic
difference - and is sure to delight audiences.
"Harrison is a fine pilot and so we were able to film
spectacular shots of him behind the wheel, and so forth - adding
so much more reality to the whole thing," says Reitman. "We did a
lot of special effects stuff as well, because flying is a big part of the
story; it's what his character does for a living. But what's really neat
is the flying that Harrison does because you're not used to seeing
a star actually piloting a plane. We're used to process shots in front
of blue screen, window images and that kind of thing sort of
painted in and added on. There's a lot of magic in seeing him in
the cockpit and how that translates onto the screen.
Ford's enthusiasm for flying is no secret, and he freely
admits that one of the key elements attracting him to Touchstone
Pictures' "Six Days, Seven Nights" was being able to cinematically
pilot his own aircraft.
The first draft of the script described Quinn's plane as a
Stinson Reliant, which is a very attractive airplane and would have
been great for flying passengers, but it really isn't appropriate for
flying freight," says the aviation ace. "So after looking around for
a little while at old books and such, we came upon an idea: Steve
Stafford, our aerial director and a flying buddy of mine, and
myself, came up with the idea of the DeHavilland Beaver, the DH-
2, which has a big radial engine and is a very handsome looking
beast...and 'picture perfect.' It wasn't easy for the production
Company to locate a half-dozen of these planes, but in due course
they were successful.
"It's very complicated to fly a plane in a movie without a
commercial license and credentials that are very substantial, but
through long and arduous Consultations with our insurance
company, we managed to persuade them of my capacity to fly the
plane in the picture," Ford says. "We've had to take
certain measures to insure that we met minimal
conditions for the insurance company as having a safety pilot in the airplane -
though he's hidden -and we've gotten wonderful material on film.
"There's nothing like the kind of shots you're able to get air-
to-air from a helicopter to the characters in the airplane," Ford
offers. "And this film is so much about the romance of flying which
means so much to the Character that I play that I was very ambitious to
capture real flying, and we've done quite a bit of it, and it's just spectacular!
We had a lot of fun doing the picture," says Ford with a smile, "and part
of what I love about flying is the skill that you acquire, and that you
need to be responsible for in order to do it safely. And while I've
been making this movie I've had the pleasure of adding a new
aircraft to my list of planes that I've flown, and it's a great pleasure
for me."
According to aerial director Steve Stafford, "Harrison
chose to use the DeHavilland Beaver because he felt it's a real
character in the movie, which it certainly is. There's no question that
Harrison is a marvelous pilot, and I think it's the first time that a
major actor has flown and actually done dialogue sequences that
are filmed from an exterior helicopter shooting the airplane.
Stafford has high praise for Ford's professionalism:
"Harrison is totally aware of what everybody's doing and what the
camera's focusing on. And it's the same thing in his flying. He's very
focused when he flies, and very safety conscious, and he spends a
tremendous about of time in the training phase of flying which most
other people don't. They just buy the airplane, go off and fly it.
"Harrison treats it like a professional pilot, so he's always
into the training mode. If you walk into his trailer, he'll be reading
an aviation magazine or studying up for his next rating. He's
moving up through the ratings. It was Harrison's idea to put the
audience up in the airplane with him, give them perspective as if
they're flying with him. To his great credit, Ivan Reitman
wholeheartedly agreed. Working with Ivan has been great; he's
been totally open to our ideas."
Everyone concerned found that the incomparable
Hawaiian Island of Kauai was the perfect spot to make Touchstone
Pictures "Six Days, Seven Nights" - the first choice of noted
production designer J. Michael Riva. As Riva remembers, "I've
worked with Ivan Reitmon in the past and what he does is just
send me off to find the right environment.
Riva was further challenged by the script: "There's a third-world quality to
the environment of this movie which is absent on the page, but key
to the film's seeing. The idea of the movie is about two people who
get shipwrecked on an island in a place that they have no
familiarity with. I immediately found when I went to Tahiti what a
'third-world' kind of country it is, which is part of the charm of
being on a desert island where you don't have contact with the
outside world - and that lent to the certain amount of jeopardy the
script holds for our two characters.
"So I had to recreate that type of environment, and given
the fact that we were shooting in Hawaii, which is very much
Americanized, and has malls, and shopping centers, and various
fast-food restaurants, you have to create that sense of obscurity and
distance for the actors and director, because the tendency is to think
that things are civilized, and the atmosphere that you're trying to
create is non-civilized, dangerous, and without a lot of help
around."
As Riva concludes, "It was a very challenging task to
create that feeling of a deserted island in the middle of nowhere.
We really had to be very selective about what we picked, and
where we picked to film, and to keep in the back of everybody's
mind thot we're not on American soil, we're in Tahiti, which is very
French, very foreign, and very carefree."
Luckily, Riva had shot on Kauai previously, proving a
tremendous advantage. "I knew of a few very specific places that
were perfect for 'Six Days, Seven Nights,"' he says. Most of them,
unfortunately, were very hard to get to, inaccessible to a large
degree. Our two 'foundation sets' were the resort and its
restaurant which we designed based on something that had been
shown to me in Tahiti.
"There were lots of other locations to create a deserted
jungle island," adds Riva. "We had to go to some remote areas
either by boot, or plane, or helicopter, and on foot. The great thing
about Ivan is that he really responded to them as much as I did. It
is an extraordinarily beautiful island, and it touches your soul, and
I think it touched his soul as well. When I turned to him and said,
'I know it's difficult to get here, but this is where we should be,' he
was already far ahead of me. Without a director's approval on
remote locations like that you don't go to those places. You can
dream all you want. Ivan was brave enough to go."
Riva also credits Harrison Ford with the choice of the
DeHavilland Beaver, which proved to be perfect for the film.
"Harrison knows planes. I know what looks good and what doesn't,
but the one he picked looked great. It had a wonderful kind of retro
850s look about it, so I exaggerated that with a color scheme which
was that red from the '50s - sort of a Gauguin motif on the movie
by using a brilliant red that became a very organic color scheme
that worked out great. The airplane quickly became the focus of
attention. Because Harrison loves to fly, he was very particular
about how it should look and what it should do."
Further offers Riva, "There are lots of differences between
Tahiti and Hawaii, which is part of the reason we went to such
lengths to find these remote areas of Hawaii. Most of the jungle in
Hawaii is not primarily rain forest so we had to create a bit of that
to simulate Tahiti. Also, we brought in nearly four hundred palm
trees. It sounds like a ridiculous thing, to bring palm trees to
Hawaii, but unfortunately there aren't many palm trees there. But
there are a lot of them in Tahiti. So we had to plant those. There
was a lot of greenery that had to be supplemented."
Most important to Riva, however, was framing the
locutions as ideal backdrops for the film's romance between
Harrison and Anne. "We just kind of folded in a lot of our fantasies
of what one would do and how one would have fun on a desert
island. And Harrison's character of Quinn is very much a guy who's
Mr. Fix-It - he con do anything. So that gave us a full license to
enjoy the stuff as much as possible. Add to that Harrison himself is
a real thinker who's entire focus is that his character is properly
driven by logic.
"Everything he does was motivated by something, and it
was my job to a large extent to logically create that 'something,'
particularly paying attention to the plane. He and I both demanded
that there was sense, reason and detail paid attention to in
facilitating the final escape. And Harrison was extraordinarily
collaborative throughout the entire process, and that was a
tremendous asset to me."
Riva gives high praise to the film's producer and director:
"Ivan Reitmon has an incredible ability to assemble the best people
around him. He has a tendency to rely on you a hundred percent
when you've earned his trust. There's not a lot of second-guessing,
and thats very comforting. He's a great barometer and keeps me
very close to the story line."
Anne Heche says, "'Six Days, Seven Nights' is a film that
has everythingcomedy, romance, action. It's a wonderful
romantic comedy in the best tradition. And it means something
special to everyone. I think everyone is trying to find the love of
their life. This movie tells about that fantasy, of just being given the
person you're supposed to fall in love with - and it hits you so
hard, the force of it explodes in front of you. It's the bang-on
collision with the love of your life, the person we're meant to be
with forever. Maybe or maybe not on a deserted island like in this
movie - but it shows that it can happen. And thats why the fantasy
stays alive. And that's part of what makes this movie so special for
everyone."
Producer Birnbaum perhaps best sums up the lure of
Touchstone Pictures' romantic adventure "Six Days, Seven Nights'
when he says, What woman wouldn't want to be stranded on a
desert island with Indiana Jones, Han Solo and the President of the
United States all rolled into one?"
w
O y % d U R @ | 8 : v > 5 w 5 |
K
8 y 3 x
Y
# b $ f K 4 l Q q 1 1 n 5 x \ # c K = ~ ? M X = V ! I N Z *! j! ! ! ! " U" " " !# Z# # # $ M$ $ $ % N% % % & U& & & & & 8' t' ' ( <( ( ( ( )) m) ) ) @* |* * + F+ + + + + 2, y, , - F- - - . S. . . . +/ j/ / / 0 M0 M0 0 0 $1 Y1 1 1 &2 o2 2 2 )3 d3 3 3 *4 g4 4 4 =5 5 5 5 5 96 b6 6 6 &7 h7 7 7 ,8 o8 8 8 ,9 r9 9 9 0: o: o: : : /; Y; ; ; < V< < < = ^= = = '> c> > >
? O? O? ? ? @ T@ @ @ A ]A A A B KB B B B 3C pC C C ,D ,D nD D D