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By DP30 david@thehotbuttonl.com

Blue Valentine, actor Michelle Williams

11 Responses to “Blue Valentine, actor Michelle Williams”

  1. Samuel Deter says:

    I have GOT to work with this woman. Such a good actress. So interesting. So genuine. So smart. So humble.

    Good interview Polonia! (that’s Poland in spanish)

  2. sanj says:

    this was a bit different – Michelle slowed her speech for
    first 15 minutes then went back to normal the rest of the way..

    there was only 7 minutes that was the movie itself

    since her movies aren’t repeated too often on regular cable – most of us know her from Dawson’s Creek repeats

    overall – i liked the Wendy and Lucy DP/30

  3. LexG says:

    LOOK AT HER!

  4. anghus says:

    talented gal. she’s done a great job of picking good material (mostly) and has avoided the dreaded hell of a katherine heigl career.

  5. Michael. says:

    15:07 – 15:18 was a really heartfelt moment, I think she was close to losing it but kept her composure. She’s so great, good interview DP.

  6. Foamy Squirrel says:

    Anghus: it depends on what you consider “dreaded”. I’m fairly sure there’s a sizable contingent of budding actresses who would pick a career modeled after Katherine Heigl over a career modeled after Michelle Williams.

  7. movieman says:

    Personally I’m getting a little sick and tired of Williams’ affected Method-isms. And with her new blonde dye job she’s beginning to remind me a tad of the post-”Aphrodite” Mira Sorvino.
    That said, I loved the Cassavetes rawness and bruising emotional intensity of “Blue Valentine,” although it’s really Gosling’s picture.

  8. Grace says:

    8:58 – “are you hard on yourself?”

    Wow. That sweetness just can’t be contained. Great interview. Would love to see one with Gosling.

  9. leahnz says:

    i didn’t realise ‘blue valentine’ was shot in single takes. i’m keen to see it.

  10. erin says:

    Movieman…i am curious what you mean by affected methodisms?

  11. Rahmbo says:

    MW comes across as a little precious especially when talking about the filming of Blue Valentine… perhaps that’s what movieman was referring to.

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DP/30

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies