Wait...I am slightly confused now about a couple of things:
1) Didn't Pierce hurt his back falling in the log-fight scene in Robinson Carusoe? 2) Did Remington Steele the actor own a piece of Remington Steele the race horse? 3) Won't the gents have to share top billing, since they really are of equal stature in the eyes of Hollywood?
Dear cynical yours truly is looking at that cast list and seeing parts for one Sean Brosnan and one Dylan Thomas Brosnan.
1) I think he strained it on Crusoe then blew it out on the horse
2) Not that I recall
3) Actually Pierce can command more $ as leading man than Liam, and command lead roles in more medium scale and larger films. But does it really matter when it comes to billing, they'll both be above the title.
4) They should both be in school and I can't see Dylan having anything other than a walk on part in any film until he's an adult.
Actually, the equine Remington Steele does race but he's not a thoroughbred. He's a prize-winning Arabian and competes in the showring and in endurance racing which is where the breed excels. He's one of the top Arabians in the US, I believe, and a fine looking animal. This link, from a British site touting his bona fides to British mares, even says he's starred in a movie! I think that he's currently standing at stud, in California, of course.<wink> I remember reading that there was an RS fan among his owners / connections. As far as I know there's no involvement with Pierce. I think that PB had a stake in an Irish race horse, though, or at least that was reported in the press. Don't recall any more than that.
Introducing Living Legend REMINGTON STEELE *++ (in the USA, the *means he is a licensed Sport Horse Premium stallion with Distinction of Merit - with over 20 licensed Sport Horse offspring - and the ++ means he has earned Supreme Legion of Merit both in hand and under saddle).
Now for the first time in Britain, frozen semen from this supremely talented, athletic, intelligent yet gentle horse is now available to Premium mares of all breeds through Gadebrook Stud.
(cut more talk of accomplishments and frozen sexed semen )
Someone on friendlypiercebrosnangroup has sent today this... It´s about finding another star to Seraphim Falls.. you can go to New Mexico and try your chance!
CHARLOTTE: Female, Caucasian. Must be 18 or older to play 16. Scrawny, dirty, and tough. Not classically "Hollywood beautiful". Strong and able to take care of herself. She can sew and shoot a 12 gauge. A frontier girl whose mother is long gone, she takes care of her younger brother and father.
NATHANIEL: Male, Caucasian, 9-11 years old. Scrawny, smart, wily & mischievous. Has grown up without a mother, so he looks to his sister Charlotte for guidance.
CARVER'S SON: Male, Caucasian, about 4 yrs old. Brunette, like his mother. Innocent, yet old enough to understand what bad men are.
IRISH HENCHMEN: Male, Caucasian, 20s-30s. Big, scary. Works at the railroad camp. He follows the Foreman's orders.
CHARISMATICS: Caucasian. Male & Female. Ranging in age from 15-50. Some are a little creepy, witchy, spooky; some are androgynous. They are all part of a rag-tag bunch of evangelists. Dirty, oddly spiritual, inquisitive, and thieving.
If you think you have what it takes to be in a major motion picture, send us a recent snapshot with the following information written on the back:
Variety: Brosnan bonds with Icon for 'Seraphim' Former Bond to join Neeson in 'Falls'
By MICHAEL FLEMING
Mel Gibson and Bruce Davey's Icon Films has enlisted 007.
Pierce Brosnan will join Liam Neeson this fall in "Seraphim Falls," a period drama to be financed and produced by Icon.
David Von Ancken will direct a script he wrote with Abbey Everett Jaques.
"Seraphim Falls" is a psychological actioner that takes place at the end of the Civil War. While the country is putting down its guns, a colonel hunts down a man to settle a wartime grudge.
Davey produces with David Flynn.
The film, which starts shooting Oct. 17, marks the feature directing debut of Von Ancken. After drawing Hollywood's attention with the short film "Bullet in the Brain," he has directed episodes of such TV shows as "The Shield," "CSI: NY," "Cold Case" and "Without a Trace." Stan Wlodkowski will exec produce. John Toll is set to lense the pic.
Icon is in talks with domestic distributors, and Icon Entertainment Intl. is handling worldwide rights and will distribute through Icon Film Distribution in the U.K. and Australia.
Icon puts "Seraphim Falls" into production along with the Gibson-directed Mayan-language period pic "Apocalypto," which Disney will release domestically next summer.
Neeson, who is coming off "Batman Begins," "Kingdom of Heaven" and "Kinsey," takes the job while he waits to play Abraham Lincoln for his "Schindler's List" director Steven Spielberg in the film adaptation of the Doris Kearns Goodwin biography.
Brosnan, whose latest film "The Matador" has its gala premiere Thursday at the Toronto Film Festival, was expected to reprise his James Bond role until he was abruptly dropped by producers who have younger thesps in their crosshairs for "Casino Royale," which is slated to begin shooting early next year.
Why does it have to be one or the other? Those are not mutually exclusive. I think it's all of the above.
========================================================= Post by terry
What is the budget for this film.Been reading news over the net stating that this film is a low budget western.Brosnan been making many low budget film lately i.e Matador,Seraphim Falls and next in line is Butterfly on the Wheels and November Man.
Just curious what is the actual budget for Seraphim falls?
Maybe this could help about the budget which is pretty small.
MINUTES OF THENEW MEXICO STATE INVESTMENT COUNCIL.
Mr. Dekom presented his October 12 Film Investment Recommendation Memorandum. He stated that Icon Productions, LLC, is located in Los Angeles with subsidiaries and related companies in Australasia and is owned by Bruce Davey and Mel Gibson. He said the company directly distributes in Australasia and the UK and will in the case of this motion picture, Seraphim Falls. He stated that the motion picture has a budget of $18,024,702 and they are asking for the maximum amount of the loan at $15 million, which represents 83% of the total budget
The film wraps this week and that loan was made a couple of months ago. They received the loan in exchange for 5% of the gross. Filming in New Mexico also offered tax breaks and discounts which is why they filmed there and so they'd get more bang for their buck. Then take into account that Pierce and Liam are probably deferring most of their salary for a % so most of the budget is probably going toward below the line (non talent) costs. The budget is actually more than Tailor of Panama and almost twice as much as Evelyn and The Matador.
The relevant Seraphim Falls part from About.com: Pierce Brosnan on "The Matador" and Playing an Unsavory Character And His Upcoming Films: "Seraphim Falls" and "The Topkapi Affair"
Pierce Brosnan’s Next Big Project: Brosnan was sporting a beard during “The Matador” press junket and said it was for a movie he’s currently working on. “I’m down in New Mexico making a movie with Liam Neeson and it’s called ‘Seraphim Falls.’ It’s a post-Civil War Western and I play a man from the Union, a captain, and he plays a colonel from the South.”
Brosnan says his character is a field operative of his time. “Liam is chasing my character with a posse of four. I take them out one by one until there’s just Liam left.” His character isn’t based on a real person. “It’s just fictional. David Von Ancken has written this piece. David is a young writer who has done a lot of ‘CSIs’ and he did one short film called ‘Bullet in the Brain.’ 15 minutes of pure joy. [It’s] beautiful.”
The Register-Guard: It's 'Sa-halie-wood'- Pierce Brosnan and Liam Neeson are filming near McKenzie Bridge
By Susan Palmer The Register-Guard Published: Friday, January 13, 2006
SAHALIE FALLS - We never saw Pierce Brosnan, but we did see the horse he rode in on.
The sophisticated British actor and equally cool co-star Liam Neeson have been staying in McKenzie Bridge for the past week, part of a film crew shooting a Western in and around Sahalie and Koosah falls.
It's a little secret the residents in the area managed to keep to themselves for a few days. But with 120 crew and cast members occupying most every inn, motel, and bed and breakfast from Vida on east, word filtered down to the valley.
The movie, titled "Seraphim Falls," is being produced by Mel Gibson's company, Icon Films, and it came to Oregon by sheer luck.
Most of the film already has been shot in New Mexico, near Taos, said location manager Rowan Stanland, whose job it is to track down suitable places for filming. But the movie's opening sequences require a stunning waterfall, not only as backdrop but plot device as well. Stanland initially had located a waterfall in Idaho, but when it froze over in December, she started looking for a new place.
She found Sahalie Falls in a guide book to waterfalls, and it had everything she wanted: access near the top and the bottom as well as on both sides of the McKenzie River, the likelihood of snow and nearby road access. About 17 miles northeast of McKenzie Bridge, both Sahalie and Koosah have provided the spectacular backdrop the film requires.
"Seraphim Falls" is a Civil War-era tale that, according to the Icon Web site, combines "the raw brutality of `First Blood' with the mesmerizing savage beauty of `Cold Mountain.' "
Neeson plays a man bent on killing the character portrayed by Brosnan because of something that happened during the war.
During part of Thursday's filming, a helicopter lifted Brosnan's stunt double off the ground, dipped him in the roiling waters at the top of Koosah Falls then pulled him out and deposited him in a nearby hot tub to recover, Stanland said.
Today, the stunt man will have another soaking in some rapids farther down the McKenzie, she said. But the shoot isn't open to the public, and Producer David Flynn - though polite when journalists showed up on Thursday afternoon - was singularly disinterested in bringing a Register-Guard reporter and photographer anywhere near the action.
He escorted us along a trail in the dismal afternoon rain, pointed to a couple of canopies set up about 50 yards away and then stopped and gestured.
"Can we get any closer?" we asked.
"Even if we're really quiet and don't bother anyone?"
Just then, six horses with their wranglers appeared and were escorted past us. These star horses had been brought all the way from New Mexico for the shoot. They looked bedraggled in the Oregon rain.
But Neeson and Brosnan? Maddeningly out of sight. Probably not bedraggled at all. Plenty of locals can affirm that, said Carmen Wiley, a co-owner of Takoda's Restaurant, where the production crew has set up an office all week.
Brosnan himself came in for lunch at Takoda's on Thursday and autographed a menu while he was there, she said. She confirmed that he looks as exactly as fine as he does in his films. "It's exciting that they're here, but they're just people like you and me," she said.
The crew has been gathering nightly at the Log Cabin Inn's restaurant and bar, said Cyndy Parazoo, gift shop manager at the inn. This time of year, the place is normally closed Mondays through Wednesdays, but managers decided to open to accommodate the visitors, she said.
The first few nights it was just the film crew hanging out. But by Wednesday, Brosnan and Neeson sightings had hit the local grapevine and people showed up in droves, she said.
"It was a real circus," she said.
But the sideshow is almost over. Filming wraps up today, with the cast and most of the crew heading out. Stanland will wrap up a few last details before leaving next week, she said.
The production has been a financial boon in an area that sees very little business this time of year. "It slows down in the winter," Wiley said. "We don't have as many travelers. ... But it's almost been like spring or summer here this week."
Except for the rain - which played havoc with the cameras and melted the snow, Stanland said. Fortunately, Oregon Department of Transportation crews have been happy to dump the snow they've cleared from roads at the film site to replace what the rain melted, she said.
It will be six months to a year before "Seraphim Falls" comes to theaters. For more on the film, check the Web at www.iconmovies.net/seraphim falls.
Seraphim's Blessing : The high altitude set for "Serephim Falls" above Taos Ski Valley, New Mexico.
I had an opportunity to sit down for a chat with director David Van Ancken on the evening of Nov. 22, 2005 at the Edelweiss Hotel in Taos Ski Valley. He and his crew from Mel Gibson's Icon Entertainment are shooting a new period western in the mountains above Taos, New Mexico. It is called "Seraphim Falls" and it stars Pierce Brosnan, Liam Neeson and Anjelica Huston. It is scheduled for release sometime in 2006.
The story is set in a period shortly after the Civil War. A Confederate colonel is unwilling to forget the wrongs be attributes to a Union soldier and, despite the cessation of hostilities, decides to continue pursuing him across a mythical west.
While Neeson and other crew members bellied up to the bar to unwind after a day's successful shoot, I found a table with Van Ancken and publicist Blaise Noto.
Q: Is the location working for you? (shot the ending of the movie today, Nov. 22, 2005)
David Von Ancken: The location’s fantastic. It’s the only place in the state with snow. We’re here at 12,000 feet. It’s incredibly beautiful watching the sunrise every morning. And everybody’s responding to it as if it were build to the story.
Q: You’ve done a lot of television work and this is your first feature film. Does this mark a change of direction for you?
A: I think I’ll do both. I rather enjoy doing good quality television, but, having written this and having the chance to work with such a talented group affords me a chance to control more than in television. With any luck, hopefully that will yield something, especially for the people involved.
Q: You’ve got two Irish actors as leads in a film set just after the Civil War. What went into the decision to cast Liam Neeson and Pierce Brosnan?
A: It was just chance. As I was writing this with my writing partner (Abby Everett Jaques) we were talking about certain people, then there’s a certain soulfulness to certain actors that this script needs. Because, what I was going for, in telling the story, was essentially very little dialogue. You know, stripping away the white noise of conversation and getting back to a, not just a period piece in terms of costumes and what type of guns you have to carry, but the fact that people didn’t talk too much in 1868. These guys are certainly not talky individuals, as characters.
Q: They don’t play Irish.
A: No. But, anybody from that period of time most likely came from Europe. Liam (Colonel Morsman Carver) is playing, sort of, a middle southerner. Pierce (Gideon) is playing a Union officer, so, two halfs.
Q: Would it be wrong to call this a “chase” picture?
A: You can call it whatever you like, but it’s really a — the action is visceral, and action is what we’re shooting on top of this mountain. Literally falling down the mountain from the top of the snow, into this desert in Lordsburg, where we were last week. So, it has specific, and I think very authentic action elements to it. And what I was trying to go back to and what we every day try to practice is the world of as limited CG as you can have, perhaps none. Ideally, no computer assisted chase sequences, but rather in-camera and in the bodies of these two great actors. If you throw them at something that’s real, they will throw back a performance at you that is fascinating. And we have been practicing that for the last 28 days or whatever it is. Yeah, it’s a chase movie, but it’s much more of a movie about finding out what’s important and when to let go of things so you don’t destroy yourself.
Q: How long have you been working on the script?
A: I researched the script for about six months, and wrote it in about three or four. Then, tweaked it for a couple of months, so over about a year.
Q: Was there ever a chance someone else might have directed it, instead of you?
A: No, I was offered a lot of money for it, at one point, by some element of a studio, with the proviso that I would not direct it. I decided not to take that route. I didn’t really write it to sell it. I wrote it because it came out of a frustration from reading a lot of scripts that I thought ‘I can do better than that.” And, eventually, someone said “Do that.” And, eventually, someone like Bruce Davey at Icon saw this sort of energy we could put behind this and make this both a very high impact action movie that actually says something. I’m not going to define what it says but if each person who’s involved with this has come to me and said, “This means this to me.” And none of them are wrong. Ultimately, I wrote it for a reason. It says something about anti-war. It says something about two men finding themselves with no more energy left for hatred and they somehow have to survive, and ultimately help each other, even if they’ve spent the last 90 minutes trying to kill each other.
At this point, producer David Flynn joined us.
Q: The visuals in this movie sound as though they were designed to be a character itself. I’m sure your choice of cinematographer had a lot to do with that.
David Flynn: This is really a question for David (Von Ancken), but, yes, the environment is definitely the third main lead in the movie, absolutely.
Q: Tell me about your choice for director of photography.
Von Ancken: John Toll was very high on our list and I was really excited (to get him). Many people came together for this and I feel very lucky and we work hard to make it worth everybody’s collective energy every day, but John Toll specifically read the script and came at us. He is an available-light master, as far as I’m concerned. He’s done a lot of great work where he uses very little, besides a white bounce board. People have showed up on our set and said “Where’s movie set?” There aren’t fifteen 18K lights. There are just four guys holding a white bounce card and four guys holding a four-by-eight piece of black cloth. He’s all about removing light. He sees the world and he takes light away, as far as I’m concerned. I mean I’ve never talked with him about it, but that’s what I watch. And we’ve just come from dailies and they look fantastic every night. What David Flynn just said is kind of the mantra that I was thinking while writing it. The more removed from civilization we were taking these guys, the more the environment and nature were elevated as a character. We bring them through, what I find, several very interesting characters from Tom Noonan to Anjelica Huston (who has relatives living in Taos), but the reality is the third lead in this movie is the world in which they walk, run.
Q: This is a depiction of the mythic west.
A: I think any time you take two men and strip down what drives them to the primal essentials you have a myth on your hands. And what we did very carefully was take them into the wild, away from — there’s no town in this movie, there’s nothing, there’s a railroad camp, but it is basically hell. And, once you go into nothingness, and you’re left with just the person you’re looking at or yourself, there’s a mythic element there.
Q: What are some of the challenges you’ve faced in making this movie?
A: Have you looked at the top of this mountain? At 4:30 in the morning it is dark and cold. Last week we were in boiling hot and cracked Lordsburg. It is all about the weather.
Flynn: There’s one small set that’s an interior, but the whole movie’s shot exterior. For anybody scheduling or budgeting a movie for that, it’s a huge challenge.
Von Ancken: We have a 46 day schedule and we’re carrying three days or cover with us, meaning we have a set, that we haven’t shot yet, on purpose, that is our only insurance policy. On a normal movie with 45-58 (days) would have half inside, at the very least. We just went into it and we’ve been very lucky in New Mexico because when we need for it to be sunny, it’s sunny; when we need it to be cold, it’s been cold. The snow situation scared us but, here in Taos, we found snow at above 10,000 feet. With any luck, Monday it’s going to snow here. The vistas we’ve found could play for the eastern Rockies. They could play for Nevada. They could play for the Alps. The stuff behind Taos Ski Valley is just fantastic looking.
Q: What’s it like working with Pierce Brosnan and Liam Neeson?
A: It’s very simple. They’re very dedicated, talented, immensely watchable individuals and they come to this project — I’ll say I’m lucky again, and I’ll probably say it five more times if you keep interviewing me, but they come to this project with an incredible degree of concentration and an incredible degree of devotion for no other reason than the project itself. And each of those actors feeds off the other because each of those guys realizes the other guy is vested in this and the other guy is there. Their performances are concentrated and very authentic characters. So, what is it like to work with them? It is an absolute fucking dream. That’s what it’s like working with them. And you can quote me on that. I’ve shot 150 days in the last year, on a lot of big TV shows with a lot of name actors, and these guys are unbelievably focused, driven and committed. I think all of us, from every PA up to the producers to Flynn, to myself , we notice this every day with them. It does not go unnoticed for five minutes on the set.
Executive producer Stan Wlodkowski also sat in for a moment.
Q: What went into the decision to shoot in New Mexico? You could have shot in Canada or …
Stan Wlodkowski: We looked at Canada and to be honest with you New Mexico has a great film incentive program, which gave us a big reason to come here, but also you have an incredible variety of locations. This is a western that begins in snowy mountains and ends on the desert floor and there’s not a lot of places where you have those two things within five hours driving distance of each other.
Q: It kind of showcases New Mexico’s features then?
A: We are an absolute advertisement for beauty of New Mexico. A few days ago, we were shooting 80 degrees in Lordsburg and today were shooting 20 degrees at the top of Taos Mountain. You don’t get that kind of variety in many other places. So, it happened to have exactly what we needed for this movie. It also happens to have a very strong film community in Santa Fe with some wonderful technicians, which we were glad to take advantage of.
Did anyone notice Seraphim Falls feature quite a number of award winning cast and crew .I hope this will augurs well and turn out to be a great film.
Full Cast and Crew for Seraphim Falls (2006)
Directed by David Von Ancken (Award Winning filmmaker) Writing credits Abby Everett Jaques &David Von Ancken
Cast Pierce Brosnan (Golden Globe Nominie) Liam Neeson (Golden Globe and Oscar Nominie) Robert Baker Angie Harmon (SAG nominie) Henry Herman Anjelica Huston (Oscar Winner) James Jordan Ed Lauter Argos MacCallum Tom Noonan (Sundance Award Winnier Filmmaker) Johnny Radcliff John Robinson Zachary Sears Jimmi Simpson Janelle Sperow Michael Wincott Richard Barela
Produced by Bruce Davey (Oscar Winner)David Flynn John Limotte Stan Wlodkowski
Cinematography by John Toll (2 time Oscar Winner)
Film Editing by Conrad Buff IV (Oscar Winner)
Casting by Eleanore Bravo Mali Finn (Emmy Winner) Elizabeth Gabel
Production Design by Michael Z. Hanan (Emmy Winner)
Art Direction by Guy Barnes
Set Decoration by Wendy Ozols-Barnes
Costume Design by Deborah Lynn Scott (Oscar Winner)
Makeup Department Sara Bozik Jessie Brown Tarra D. Day Rich Knight Karen McDonald Yvette Meely Matthew W. Mungle (Oscar Winner) Rick Provenzano Glenn Pulliam Bron Roylance Christina Smith (Oscar Nominie) Sheila Trujillo Clinton Wayne (Emmy Winner)
Production Management Mads Hansen
Second Unit Director or Assistant Director Ellen M. Hillers Chemen Ochoa Philip A. Patterson
Art Department Scott Nifong Steven Sutphen
Sound Department David Brownlow (Emmy Winner) Cole Gittinger William Sarokin
Special Effects by Peter Chesney Jr Peter Chesney (Bafta Nominie) Kyle Collingsworth Scott Hastings Joel Hobbie Timothy R. Hoffman Margaret Johnson Randy E. Moore Jason Prentice Stein Rosburg
Lots of films have award winners/nominees in front of and in back of the camera. The most impressive person behind the camera in this film is the great cinematographer Jon Toll who no doubt was an immense help to a rookie film director. As will the editor Buff. The film should also look great withe costuming, make-up and production design heads. It all comes down to the script though.
Mr. Dufault got to sing a tune for the movie "Seraphim Falls," with Liam Neeson and Pierce Brosnan. If we get permission we might get his piece of the sound track up. Here he is on the set with Tom Adler on banjo and Rob Pine on fiddle:
Alas no photo including Pierce and Liam but I am boggling over them singing a tune "with" them and it being on the Soundtrack. Though probably it's just worded poorly and they mean the film is with Liam and Pierce -- since I can't really imagine a scene in the film where they're singing together.
LA Daily News: By Marilyn Beck and Stacy Jenel Smith
BIG-SCREEN SCENE: Anjelica Huston, who has been traipsing from one acting assignment to the next of late — including her recurring stint on Showtime's "Huff" — reports she may soon be returning to the rear side of the camera: "I have four directing things, all in different stages, in the works." The Oscar winner has "Seraphim Falls" coming up on the big screen, playing "kind of a snake oil salesman" in the post-Civil War revenge thriller, with Liam Neeson and Pierce Brosnan. "We shot it in the New Mexico desert," she notes.
"It was not a painful experience to be stuck out in the desert with those two."
NW News: The pews are alive with the sound of music
By Bronwyn Wilson Senior Staff Writer
The European-style chapel at Bastyr University has become the ideal recording studio for Hollywood movie soundtracks.
You might not expect to find post civil war cowboys inside a chapel in Kenmore. But there they were, plodding haggardly along a snowy mountain trail. As they do, a crescendo of hauntingly sublime music drifts along with them. The images of cowboys projected on a screen transcends to a celestial experience when the rich sound of oboes and flutes joins in.
Suddenly the orchestra stops. The screen goes blank. The conductor calls out. “Woodwinds! Strings! Should we come off on the second beat?”
The composer in the sound room converses with the conductor via TV screen. It’s agreed. They’ll do it over. Quiet, please. Then everything happens just as before. The screen light ups, the snowy scene begins, the orchestra breaks into a melodious sound. The composer and conductor carefully calibrate each musical note to the images on the screen.
This soundtrack production for the upcoming movie “Seraphim Falls” took place this month at Bastyr University’s chapel in Kenmore. The 140-foot-long chapel has become the ideal recording studio for Hollywood movie soundtracks.
“Acoustically, the chapel stands out,” explained Pamela Vaughn, Bastyr’s director of extended education and conferences. “The chapel’s overall architectural structure lends itself to being the perfect place for recording music. The high ceiling allows reverberation as the music moves around, up and down, back and forth. And the ceiling’s wooden crossbeams add absorption. The microphones are located in the spot that’s called the ‘sweet sound,’ which is 16 feet in the air. It’s all very strategic.”
“Seraphim Falls,” a Hollywood western starring Pierce Brosnan and Liam Neeson, will be released sometime in the future. But it’s not the only production company that found its way to Bastyr. Scary Movie 4; Lucky Number Slevin; Akeelah and the Bee; Wedding Crashers; Bee Season; and Brokeback Mountain (which won an Oscar for best original film score) are among many movie soundtracks recorded at the chapel. “And Dave Matthews did his album ‘Some Devil’ here,” Vaughn added, noting the university also sponsors concerts in the chapel around the holidays. “We have an annual Celtic concert the first Saturday of December with Irish dancers and fiddlers. It packs the chapel and proceeds go to student scholarships.”
The European-style chapel features awe-inspiring aspects other than acoustic magnificence. “Its European artwork and craftsmanship were all done by hand,” Vaughn noted.
Harry Clarke Studios of Dublin, Ireland created the 36 handcrafted stained glass windows that line the chapel’s walls. They alone hold a reverence of glory. Intricate designs of ruby red, cobalt blue, emerald green, mauve and deep purple shimmer in kaleidoscopic colors of brilliant light.
“When the stained glass windows were made in the 50s, they painted on top of the stained glass and fired it,” said Vaughn. “It’s art on glass. It’s very unique and beautiful.”
The beauty of the stained glass in combination with terrazzo floors, oak paneled walls, French Rouge Antique marble columns and the 65-foot long mosaic panel depicting “Stations of the Cross” reveal a sense of God throughout the sanctuary. The huge copper-sheathed entrance doors hint that something sacred lies beyond.
Built in 1958, the chapel originally served as the core of the Seminary of St. Thomas, a college where men prepared for the priesthood. “That’s why the chapel is so ornate, because it’s where the men were ordained as priests,” Vaughn explained. “Thomas Connolly, archbishop of Seattle, commissioned the chapel’s design. He wanted it to be an Italian Renaissance replica of the chapel in Rome where he said his first mass. Archbishop Connolly built tons of schools and churches during his reign.”
By the 1970s men were feeling less inclined to enter the priesthood. With enrollment dwindling, the seminary closed in 1978. The campus served as a conference center and drug and alcohol rehab center until 1996. That year, Bastyr University moved to the property and purchased the land and buildings from the Seattle Catholic Archdiocese in 2005.
The public is welcome to visit. “Although the university is private property, the chapel and herb garden are open to the public when not in use.” Vaughn said.