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Madeleine Stowe

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The moment with Hawkeye is all about mutual attraction, expressed without filter from him, and a surrendering of social guardedness from Cora. She accepts his directness as her own.

 
Madeleine Stowe

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Men and women in their mutual attraction are driven to the very emptiness they are trying to avoid.

 
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Positivists and analysts alike believe that the words is and ought belong to different worlds, so that sentences which are constructed with is usually have verifiable meaning, but sentences constructed with ought never have. This is because Ludwig Wittgenstein's unit, and Bertrand Russell's unit, is one man; all British empiricist philosophy is individualist. And it is of course clear that if the only criterion of true and false which a man accepts is that man's, then he has no base for social agreement. The question of how man ought to behave is a social question, which always involves several people; and if he accepts no evidence and no judgment except his own, he has no tools with which to frame an answer.

 
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While I didn't know it at the time, Daniel had suggested to Michael that I play Cora before we had ever met. And prior to our meeting, I was at a restaurant with John Bailey, the director, when I felt this man looking over in our direction and smiling a good deal. I realized, after leaving, that it was Daniel. He later told me that he was having lunch with Michael and had coincidentally asked him earlier that very day about me. It's just a funny thing, isn't it? And I was terribly flattered when he told me this tale. He was also very clear that the decision to cast me as Cora was all Michael's.

 
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The count uttered several rather risky witticisms, but so tactfully were they said that his audience could not help smiling. Loiseau in turn made some considerably broader jokes, but no one took offence; and the thought expressed with such brutal directness by his wife was uppermost in the minds of all: "Since it's the girl's trade, why should she refuse this man more than another?"

 
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