Michelle williams and ryan gosling dating 2016
Taking its inspiration from the question posed by the Supremes in 1964, 'Where did our love go? Bombs are exploding every day and the kitchen is Ground Zero.’ It’s hard to hear that without thinking of the exploded bomb that was her relationship with Ledger, whom she met while shooting Brokeback Mountain in 2005, conceived a child and moved in with, only to have the relationship come apart with bewildering speed in the summer of 2007; six months later, just as a custody battle was grinding into gear, he was dead. 'Every time I come home, there’s a new note on the refrigerator saying, “Thanks for letting me stay here”,’ she says.’, the film cuts back and forth between a young married couple’s attempts to shore up their faltering marriage, and the story of how they first met and fell in love. It is one of the more curious aspects of the shadow under which Williams has subsequently laboured that everything she does – from going to the supermarket to making a film – is viewed through a veil of suffering: she is America’s Lady of Constant Sorrow, appearing in a succession of sad, lovely films in which her pale, porcelain features come close to breaking. 'Synecdoche, New York is not all sad.’ It’s mostly sad, I say. 'It staves off the loneliness, or the desire for a relationship.
Too distracted to concentrate, she found herself curiously accident-prone: falling downstairs, breaking a toe, putting her fingers in the blender.In 2008’s Wendy and Lucy, where Williams played a drifter, cut loose from her family, performing her ablutions in a petrol-station washroom, she made an entire film of such moments.'She’s like a classic silent movie actress,’ Derek Cianfrance says.Her entire day was a mystery to me, that I would have to untangle in the morning. I thought about my life at work, and how much of a mystery it is to her, but one day she is going to see these movies, so my hope now is that the work makes her proud and that she sees the reason I was gone.’ This story, almost heartbreaking in its poignancy, could almost have slipped from the pages of Mary Oliver, one of Williams’s favourite poets – or, for that matter, from one of her own films, which are filled with such moments combining the elegiac and the everyday.While shooting Brokeback Mountain, Williams devoted most of her energies to her meaty dialogue scenes, only to find that it was the scenes that showed up in the script only as a single line ('she drives the car’; 'she looks out of the window’) that packed the biggest punch.'Take This Waltz, the movie I just made in Toronto, is not all sad. When I get home I can get into bed, read a book, talk about my day.’ Matilda was two when Ledger died, and has only the sketchiest memory of the father who used to lavish her with lifesize toy animals and ice cream.
Now five, she often asks Williams questions about him: what he was like, what happened to him, where he went.
Not that the figure who pops her head around the corner of One Girl Cookies in Brooklyn to meet me for coffee is in any way dour.
Dressed in a fur-lined parka jacket, a beautiful vintage dress, a boyish coif of newly blond hair, she is a far cry from the pallid creature stalked by the paparazzi over the past few years. ’ Williams’s publicist has warned me off any direct questions about Ledger, and yet he is hard to avoid.
In December 2008 the film director Derek Cianfrance phoned Michelle Williams with good news: he had secured the money for Blue Valentine, the film project – about a disintegrating marriage – that they had been trying to get off the ground for five years. 'I promised her that I’d take her to school every morning and tuck her into bed every night, and that we were going to stay in one place,’ Williams recalls.
Now with Ryan Gosling set to co-star, the cameras were ready to roll. 'So I had to call Derek back and through tears say, “I’m sorry.
'It was my first experience of work being fun in a long, long time,’ she says.