Gray, who played Sue Ellen Ewing, the wife of Hagman's backstabbing oil magnate J.R. Ewing in the legendary TV drama, was with her friend and co-star when he died in a Texas hospital.
She released a statement late on Friday, in which she called the star "my best friend for 35 years," adding, "He was the Pied Piper of life and brought joy to everyone he knew. He was creative, funny, loving and talented, and I will miss him enormously."
Gray helped Hagman battle throat cancer last year (11), suggesting he give up eating meat.
Duffy, who played Hagman's onscreen brother Bobby Ewing, took to Twitter.com to post a photograph of the two actors sharing a smile, alongside the poignant message, "My friend is taking a break. Pardon my silence. Love Patrick."
Principal, who starred as Duffy's wife Pamela Barnes Ewing in the show, tells UltimateDallas.com, "Larry was bigger than life... on screen and off. He is unforgettable, and irreplaceable, to millions of fans around the world, and in the hearts of each of us, who was lucky enough to know and love him. Look out God... Larry's leading the parade."
Kercheval, J.R. Ewing's arch nemesis Cliff Barnes in the show, writes on Twitter, "A friend and long time partner... the other half... RIP Larry Hagman... your spirit will live long."
Hagman's other onscreen wife Barbara Eden, who starred with him in sitcom I Dream Of Jeannie, has also paid tribute to the actor, revealing they recently reconnected and she feels grateful to have been able to spend that time with him.
In a post on her Facebook.com page, she writes, "I still cannot completely express the shock and impact from the news that Larry Hagman has passed... I am so thankful that this past year I was able to spend time with him and experience yet again 'Larry' in all his Big Texas bravado... I, like many others believed he had beat Cancer and yet we are reminded that life is never guaranteed. My deepest condolences go out to his (family)... I can honestly say that we've lost not just a great actor, not just a television icon, but an element of pure Americana. Goodbye Larry, there was no one like you before and there will never be anyone like you again."
Hagman recently told the Los Angeles Times of his final wishes, revealing he wanted his remains to be scattered over a field and "have marijuana and wheat planted and harvest it in a couple of years and then have a big marijuana cake, enough for 200 to 300 people. People would eat a little of Larry."
David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.