Como Desees

It all began with a phone call, a single, urgent note from an agent marked "Important," which led to a meeting with Rob Reiner and Andy Scheinman. Little did I know, this was the first step into a world that would forever change my life: the world of Westley, Buttercup, and the Cliffs of Insanity. The journey to bring William Goldman's beloved tale to the screen had been a long and winding one, trapped in "development hell" for years, with many directors, even the great François Truffaut, unable to make it happen. But Reiner, with his quiet determination, was finally going to achieve the inconceivable.

The casting process itself was an adventure. Imagine the relief, and perhaps a touch of terror, when I learned I was to play Westley. Then came the extraordinary ensemble: the ethereal Robin Wright as Buttercup, the intimidating Chris Sarandon as Prince Humperdinck, and the inimitable Mandy Patinkin as Inigo Montoya. Wallace Shawn, who embodied Vizzini, confessed to a haunting anxiety, convinced Danny DeVito would have played the part far better. Yet, from the moment we gathered, a unique camaraderie began to form, a sense of family that transcended the roles we were to play.

The physical demands of the production were immense, particularly for the fabled "greatest sword fight in modern times." Mandy and I, neither of us swordsmen, embarked on months of grueling training, mastering both left and right-handed fencing, striving for a grace and precision that would make the intricate choreography sing on screen. There were mishaps, of course; I recall breaking a toe on set, a minor inconvenience in the grand scheme of things, but a testament to the spirited, sometimes clumsy, reality behind the on-screen magic.

Laughter, often to the point of ruining takes, was a constant companion. Billy Crystal and Carol Kane, as Miracle Max and Valerie, brought an improvisational genius to their scene that left us all breathless, their comedic timing a masterclass in spontaneous brilliance. Even the director, Rob Reiner, found himself battling unexpected forces - the steadfast British union rules that mandated daily tea breaks, and on location, a third sandwich break featuring the rather unique "chip buttie."

And then there was André the Giant. His presence, both physically towering and incredibly gentle, filled the set with warmth. He was a man of immense kindness, his booming laugh and quiet wisdom endearing him to every single member of the cast and crew. His legendary appetite and capacity for drink were often recounted with affectionate awe, but it was his tender spirit and the friendships he forged that truly left a lasting impression on us all. He even once let out a "16 second fart" that brought production to a standstill, eliciting only Rob Reiner's concerned query, "Are you okay, André?" to which he replied, "I am now, boss."

The three months we spent filming felt like a charmed existence, a shared adventure where every challenge was met with a collective spirit. We were a group of performers who genuinely enjoyed each other's company, believing deeply in the heartfelt story we were telling. This palpable sense of joy and collaboration, I believe, infused every frame of the film, creating an atmosphere that was truly special.

When The Princess Bride first premiered, it garnered good reviews, but audiences didn't flock to theaters in droves. It wasn't an immediate blockbuster, and for a time, it seemed it might fade into obscurity. Yet, something magical happened with the advent of home video. Slowly, steadily, the film found its audience, growing into a beloved classic through word-of-mouth and repeated viewings, a testament to its enduring charm and wit.

Looking back, decades later, the film's impact is undeniable. It changed careers, forged lifelong friendships, and continues to resonate with new generations, teaching them about true love, adventure, and never going in against a Sicilian when death is on the line. The memories, the laughter, the sheer delight of creating something so enduring - it was, and remains, an inconceivable gift.