The Dishmaster

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Michelle Williams Archive

Thursday

26

July 2018

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Michelle Williams’ Vanity Fair Interview: New Love, Equal Pay, and Heath Ledger

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Famous people often document their personal struggles in hopes of helping the masses, and given that they are so far away from my own life, it’s something I simply don’t relate to. But Michelle Williams is the exception. Her statements on grief have been immensely helpful, most notably when she discussed her torment about leaving the town house she once shared with her late love Heath Ledger. Of the painful decision, she said, “At that time, I was inconsolable, because I felt, How will he be able to find us? This is where we lived, and he won’t know where we are. And now I can’t believe I thought that. Maybe what’s making me cry is I feel sad for the person who thought he won’t be able to locate [us].” Having left a job after my boss/best friend passed away and thinking almost the EXACT same thing, I was extremely grateful for her her honesty. She also said, “Grief is like a moving river, so that’s what I mean by it’s always changing. It’s a strange thing to say because I’m at heart an optimistic person, but I would say in some ways it just gets worse. It’s just that the more time that passes, the more you miss someone.”

In a recent interview with Vanity Fair, Williams once again solidified all the reasons I love her. For starters, she discussed the dread of dressing up for interviews, which is something I never noticed until expressly pointed out. As women, we often read interviews that begin by discussing a woman’s appearance, and in this new world, those days are hopefully over. Williams also addressed that infamous pay gap between her and Mark Wahlberg for ‘All the Money in the World,’ saying, “I was one woman by myself and I couldn’t do anything about it. But in the wolf pack—the phrase Abby Wambach uses—things are possible. And that’s really what it took: somebody who was at the head of the pack, Jessica Chastain, pulling me up with her, and then all these other women surrounding me, teaching me.” Though I was not aware that the story only gained traction after Chastain’s tweet (having been originally printed months prior), it’s certainly no surprise that Chastain led the movement. It is; however, surprising that Williams stayed with her longtime agent, but she is apparently very forgiving, having said she believes in “second chances.” Hopefully those suits at Hollywood’s top studio learned a thing or two also.

Finally, the intensely private Williams discusses her new marriage to musician Phil Elverum, hoping to help women in similar circumstances who might have given up on the hope of finding love. To put it simply, she says, “I am finally loved by someone who makes me feel free.”

For more of her beautiful interview, visit VANITY FAIR.

Monday

18

March 2013

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Michelle Williams Won’t Apologize for “Redface” Pics

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Michelle WilliamsI’m constantly criticizing celebrities for their lack of creativity in photo-shoots, so I’m conscious of attacking Michelle Williams for her “redface” photo controversy in AnOther Magazine. That being said, it doesn’t quite sit right. To properly assess whether it’s offensive, I’ve asked myself how I’d feel if a non-Jewish celebrity dressed up as an Orthodox Jew for a photo-shoot. In short, I wouldn’t be happy. You don’t need intent-to-offend to be offensive. That claim applies to AnOther’s response, which is below. Sure their intent was pure and based on art, but that’s wildly irrelevant. To be fair, Williams’ PR team is mostly to blame for consenting to this idea. They are also to blame for her subsequent silence. If I were her, I’d apologize and exit this mess as quickly as possible.

“While we recognize the seriousness of this debate, the image in question in no way intends to mimic, trivialize or stereotype any particular ethnic group or culture, as recent reports suggest. [Williams is presented in a] series of eight different imaginary characters. All the characters in the story were inspired by multiple fashion and cultural references, characters and eras, as well as by our admiration of Ms. Williams as one of the most respected and talented actresses of her generation. While we dispute the suggestion that the image has a racist subtext in the strongest possible terms, we’re mortified to think that anyone would interpret it in this way.”

Wednesday

20

October 2010

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Today’s Question: Will a Movie Ever Get a NC-17 Rating Because of Violence?

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Ryan Gosling and Michelle Williams’ new film, The Blue Valentine, was slapped with the much dreaded NC-17 rating by the MPAA, because of its graphic sex scenes.  If the movie manages to get an Oscar nomination (which is likely), it will be in the company of only two movies — Henry and June and Midnight CowboyMidnight Cowboy was actually rated X, which has now been turned into an NC-17 rating, because the porn industry has a stronghold on the letter “X.”  Here’s what I will never understand about this rating.  The puritanical folks over at the MPAA can give an NC-17 rating based on sex, but never on violence?  Remember Passion of the Christ?  Which movie do you guess is more disturbing for a young child — Passion of the Christ or Showgirls?  I’m guessing a young teen might loose sleep over Showgirls, but not for the same reasons that he might loose sleep after watching Jesus get tortured for hours on end.

Tuesday

12

October 2010

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Michelle Williams Will Play Marilyn Monroe — Is this Movie Necessary?

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Am I the only person on the planet that doesn’t feel a personal connection to Marilyn Monroe?  I don’t get it.  Sure, she was great.  But does that mean that every celebrity has to pose as her, and movies have to be made about her life?  Lindsay Lohan and Nicole Kidman already copied a Marilyn Monroe photo-shoot, and Megan Fox has her picture tattooed on her arm.  And the great Paris Hilton once proclaimed that she’s the “Marilyn Monroe of today’s generation.”  Okay — that last one just made me laugh.  So when I heard that Michelle Williams was cast in a new Monroe biopic, I skipped over the blogosphere questions about whether she could pull it off, and asked myself whether it should be made at all.