![]() Jaaaane” and then Joan Fontaine runs to him but in this version we had Michael whispering as if it’s like, being carried on the wind, and that was the only way we felt we could get away with it without it really falling into cheeseball. ![]() I think a good example of how cinema’s changed from 1943 to now is that in Bob Stevenson’s version of the film, the version I grew up with, they have Orson Welles’ like booming baritone voice over the moors like “Jaaaaane. The one that was like weighing on me the most which ended up being the scene we shot first, was when Jane really hears Rochester’s voice, the first time on the moor, and it’s like “How do you do that?” How did you go about toning down the melodrama? On that note, the story has a number of fantastical and melodramatic elements, telepathy, bigamy, the mad woman in the attic and that kind of thing.
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