|Born||in Kalispell, Montana, USA|
|Birth Name||Michelle Ingrid Williams|
|Height||5' 4" (1.63 m)|
Mini Bio (1)
A small-town girl born and raised in rural Kalispell, Montana, Michelle Ingrid Williams is the daughter of Carla Ingrid (Swenson), a homemaker, and Larry Richard Williams, a commodity trader and author. Her ancestry is Norwegian, as well as German, British Isles, and other Scandinavian. She was first known as bad girl Jen Lindley in the television series Dawson's Creek (1998). She appeared in the comedy film Dick (1999), which was a parody of the Watergate Scandal along with Kirsten Dunst, as well as Prozac Nation (2001) with Christina Ricci. Since then, Michelle has worked her way into the world of independent films such as The Station Agent (2003), Imaginary Heroes (2004), and The Baxter (2005). But her real success happened in 2005 when she starred in Ang Lee's Brokeback Mountain (2005) as Alma Beers Del Mar. A woman who realizes her husband is in love with another man. Her talent shown in Brokeback Mountain (2005) landed her an Academy Award nomination for Best Supporting Actress. In 2011, she received her first lead role Academy Award nomination for Blue Valentine (2010). She followed this in 2012 with a lead role Academy Award nomination for My Week with Marilyn (2011).
Michelle has a daughter, Matilda, with late Australian actor Heath Ledger.
- IMDb Mini Biography By: Matt < firstname.lastname@example.org>
|Phil Elverum||(July 2018 - present) ( separated)|
Trade Mark (2)
Personal Quotes (48)
That movie was actually really important to me - and to you! - and to not very many other people. It was the first time that a director of such esteem and talent had seen anything interesting about me. I think it was because - and in fact he said as much - he had never seen Dawson's Creek (1998). He wasn't aware of the show at all, and when I drove to meet him at his house, he really met me, not work that I was good or bad in or perceptions that people had of me, positive or negative. He just met me, and from that experience he cast me. After we made the movie he saw pictures of me as Jen on "Dawson's Creek". My passport picture at the time was a picture in, like, full makeup and hair. I was on a little break and he saw the picture and he was like [German accent], "Oh, if I had seen that I don't think I would have cast you!" [laughter]
But it was such a nice boost, you know? It was so encouraging to have somebody like that say yes to you. That gave me a lot of confidence when I didn't really have any.
... I had done a few independent movies before that, I can't even remember what, and was realizing all the while, oh this is good for me. Not that it's better than other ways of making movies but it's good for me, this sort of familial, calm, contained environment relaxes me and allows me to try things. It allows me space. I work better that way and so having that experience on Wim's movie set me in this kind of direction. I do see them as very linked. I see "Killer Joe", this play I did when I was 18; and "Smelling Rats", a Mike Leigh play that I did when I was 20; and doing "Land of Plenty", I see those things as being directly linked to something like Blue Valentine (2010) or My Week with Marilyn (2011) or this movie. They've all added up into this sort of later stuff.
But in some ways, like when I have to get my picture taken, it's nothing - I'm already right back to where I started, I'm all kind of bumbling, unsure of myself, weird, a mess. I like this much better, just having a conversation with somebody when there's not a camera. It's much easier to think when you can do this, you know, instead of when you're in some sort of, like, rigid position and you feel obliged to be a superhuman being.
It's a very uncomfortable and hard thing to do, to draw the line or to disappoint someone, even when you're sacrificing what feels right. It's a real predicament, and I say things that I regret sometimes. I get it wrong a lot, but I'm always evaluating and always trying to get a handle on it. Because I do so want to do this work, and if this is a part of this work then I must figure out how to do it in a way that feels appropriate, but still kind of honest and not like I'm wasting time.
|All the Money in the World (2017)||$625,000 + $800 ($80 p/day for reshoots)|