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Author Topic: Michelle Williams & Matilda Ledger  (Read 1047858 times)

Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4380 on: June 22, 2013, 07:00:55 PM »
Hi everybody!

It really looks like Michelle might get a chance at another award nod if it all comes together good and if not her career looks like it will keep going well anyways.  I hope so for her and Matilda as long as Michelle stays strong.



Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4383 on: June 30, 2013, 05:16:19 PM »
Sweet française

Director Saul Dibb has begun shooting in Belgium on his hotly anticipated adaptation of Irène Némirovsky's second world war novel Suite française. It stars Michelle Williams and Kristin Scott Thomas as well as Belgian actor Matthias Schoenaerts. Late additions to the cast, I hear, also include real-life husband and wife Sam Riley and Alexandra Maria Lara. The pair met during filming on Riley's extraordinary debut film Control and have been together ever since, with Riley moving to Berlin to live with the German star. I understand that Alexandra's part is a late addition to the script as she'll feature in a framing device that bookends the film. Harvey Weinstein has made this one of his pet projects, so very big things are expected and demanded. I'm particularly looking forward to costume designer Michael O'Connor's work on this – he last collaborated with Dibb on The Duchess and won plenty of awards for his excellent work styling Keira Knightley for that film.


Offline BlueJeanJeannie

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Re: Michelle Williams & Matilda Ledger
« Reply #4385 on: July 01, 2013, 01:54:11 AM »
God, she looks like Heath...  :-\  I notice it every single time - and it always makes me feel sad...
Chaos is order yet undeciphered.

Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4386 on: July 01, 2013, 04:07:58 AM »
I saw the video of when Michelle and Matilda were shopping at Crew Cuts in NY.  Michelle had to call the police to take them home and she walked Matilda out to the car telling her it's almost over.  All you could hear were the cameras clicking, it was a zoo and nothing like we think when we see the pics of them.  No wonder the girl is so terrified and Michelle gets so upset.  There really should be a law requiring the paps to stay a certain distance away atleast when the celebs have their kids with them.  There is no reason they can't zoom in from a distance and get their shots.  I saw Halle Berry was just in DC telling how terrified her little girl is when she goes to school because the paps won't leave her alone there.  I hope they make a law against it.

Offline ellye

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Re: Michelle Williams & Matilda Ledger
« Reply #4387 on: July 01, 2013, 06:12:07 AM »
God, she looks like Heath...  :-\  I notice it every single time - and it always makes me feel sad...

She does. It's uncanny. She has his eyes, which will always make her look like him.

It's heartbreaking that there will never be any photos of Matilda and her Dad as she's growing up. And indeed that there are none of them together beyond her being 2 years old.
It's so easy to imagine Heath and a teenage Matilda together, looking so alike.

2 years old. That's all she was .... and she's 8 in a few months.
It's just not fair and never will be.
He adored her, and he only knew her for 2 years.  :(

Offline BlueJeanJeannie

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Re: Michelle Williams & Matilda Ledger
« Reply #4388 on: July 01, 2013, 06:40:27 AM »
All you could hear were the cameras clicking, it was a zoo and nothing like we think when we see the pics of them.  No wonder the girl is so terrified and Michelle gets so upset.  There really should be a law requiring the paps to stay a certain distance away atleast when the celebs have their kids with them.  There is no reason they can't zoom in from a distance and get their shots. 

I couldn't agree more, gaga! I think there should be a law against paparazzi as such.

I always feel sorry for any  celebrity out there. I was just discussing it with someone on another website - imagine what it's like to be followed and photographed everywhere you go... I mean, literally everywhere...
I really wouldn't want to be in the shoes of a celebrity.

And this:
2 years old. That's all she was .... and she's 8 in a few months.
It's just not fair and never will be.
He adored her, and he only knew her for 2 years.  :(

Hmm. That nearly made me cry  :(
Chaos is order yet undeciphered.

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Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4390 on: July 01, 2013, 06:47:09 PM »
I couldn't agree more, gaga! I think there should be a law against paparazzi as such.

I always feel sorry for any  celebrity out there. I was just discussing it with someone on another website - imagine what it's like to be followed and photographed everywhere you go... I mean, literally everywhere...
I really wouldn't want to be in the shoes of a celebrity.
  I understand them going after the celebs but following their kids, scaring them and hanging out around their schools is just so wrong.  Not just for their kids but for all the kids in the school.  I remember when the paps were hanging around Matilda's school.  Matilda didn't go there even a whole week and Michelle took her upstate.

And this:
Hmm. That nearly made me cry  :(

Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4391 on: July 01, 2013, 06:51:05 PM »

Beautiful picture of Matilda. Beautiful....like her daddy.  :-*


Thanks for this.
You're welcome.  Hadn't seen this one before.  She'll always look like Heath, I love to see the pics but hate that they get so close and scare her.



Offline gagamama4

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Re: Michelle Williams & Matilda Ledger
« Reply #4394 on: July 12, 2013, 05:44:06 PM »
DIRECTOR’S NOTES :



Suite Francaise is a bold, ambitious novel – an epic tale of war from the civilians’ point of view. It’s also, of course, a book that was left tragically unfinished.

I’ve chosen to focus my adaptation on the relationships between French women and the German soldiers who’ve come to occupy their village – in particular the forbidden love story of Lucile, the seemingly ‘good’ French wife, and Bruno, a cultured German officer who nevertheless believes in the cause he’s fighting for. This tension sits amid other controversial conflicts – over class and collaboration – with townsfolk turning against each other, widespread distrust and denunciations.

I also chose to book-end the film with the story of the novel’s discovery – how the original manuscript was kept by Irene’s daughter for sixty years until she finally found the strength to read it. To me, it’s very much part of the emotional power of the novel as a whole and mirrors a crucial theme: just as Denise didn’t want to read her mother’s writings and face the painful truths of the past, so too have the French found it hard to look back at the realities of life under occupation. And for both, the end is not defeat but survival and redemption.

Irene was writing with events unfolding around her and in the making of the film I want to capture this strong sense of immediacy and authenticity. The action should feel that it’s happening now – urgent, tense, spontaneous, made with no benefit of hindsight – like we’ve discovered a time capsule. And very far from a safe, stuffy period piece.

The film’s look will also set extreme emotional intimacy against grand cinematic scale, contrasting the closeness of living with the enemy in the very next room with the magnitude of what’s going on outside. So while the love story should feel intense and powerful, the visual impact of the exodus, for instance, is visceral, dynamic, dangerous and at times shocking.

Irene intended to build a structure for her novel around maximum variety of rhythm between the parts, like a symphony (hence her title). I love the ambition of this idea and have applied it in designing the structure of the film – so as each act progresses, it does so with its own distinct pace and tone, defying expectation at each turn.

So the beginning will be fast, lively and dramatic, full of adrenaline, energy and action as Lucile sees polite society disintegrating around her. The middle section is more lyrical and romantic, imbued with a heavy sense of sexuality as a town of young women is swamped by a virile army of fit young men over a hot summer – and forbidden love beckons. The last part gives way to tension and tragedy as the initially benign German occupiers turn on the village, and Lucile and Bruno have to choose which side they’re really on.

The role of music in this film is crucial and I want it to work on two levels. The first is the score – subtle and atmospheric.
 The second is Bruno’s on-going composition. This works as a kind of score within a score and – in direct contrast to the first – is naturally much more consciously ‘musical’ in nature. I intend to have Bruno’s piece created by the composer before we shoot and then played by Bruno throughout the film as a developing theme. Not only will this be an integrated part of the story but it also carries the emotional weight of the closing scenes, finally reappearing for the end credits in full, cathartic orchestral form.

In short, Suite Francaise is a film I’m passionate to make. It’s at once a complex exploration of how people behave under the enormous pressure of occupation – and simply a powerful story of two misfits who unexpectedly find each other only to realise they’re unable to detach themselves from the massive events going on around them.

Saul Dibb, July 2012