The Sense and sensibility screenplay & diaries: bringing Jane Austen's novel ... - Emma Thompson, Jane Austen - Google Buku 0 Resensi Including the complete shooting script, named Best Screenplay of the Year by the Academy Awards, the Golden Globes, the Broadcast Film Critics, the New York Film Critics, the Los Angeles Film Critics, and the Boston Critics, among others. With 91 color and black-and white photographs, full cast and crew credits, and the complete text of Emma Thompson's acceptance speech at the Golden Globes. Dari dalam buku Apa yang dikatakan orang - Tulis resensi Kami tak menemukan resensi di tempat biasanya. Isi Sense and Sensibility | Book Reviews | Books | Spirituality & Practice Spirituality & Practice Contains the 1995 screenplay of Sense and Sensibility along with diaries written by screenwriter author and actress Emma Thompson during the shooting of the film. Book Review by Frederic and Mary Ann Brussat Share Emma Thompson won an Oscar in 1995 for her screenplay adaptation of Sense and Sensibility by Jane Austen.

This paperback includes the screenplay, her Golden Globe acceptance speech, her diaries written during the film's production, a full list of cast and crew credits, and more than 50 photos including stills, cast photos, and behind-the-scenes shots. In the introduction, producer Lindsay Doran comments: "Our fondest hope is that people who love Jane Austen will find the film to be faithful to the humour and wisdom of the original novel, but we also hope that the film will be a satisfying and entertaining experience for people who have never read any Jane Austen novels at all, or who have read the novels, but thought they were stupid. If there's just one thirteen-year-old who sees the film and afterwards decides to revise his or her opinion of Jane Austen, that's good enough for me." Sense and Sensibility was directed by Ang Lee, who proved to have a knack for drawing out all of the subtle and substantial themes in family sagas about love. This paperback has been reissued in order to coincide with the 2007 release of two Jane Austen films: Becoming Jane and The Jane Austen Book Club.

Emma Thompson winning an Oscar® for "Sense and Sensibility" - YouTube Emma Thompson winning an Oscar® for "Sense and Sensibility" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Uploaded on Sep 27, 2011 Anthony Hopkins presenting Emma Thompson with the Oscar® for Writing (Screenplay Based on Material Previously Produced or Published) for "Sense and Sensibility" at the 68th Academy Awards® in 1996. Category Embroidery Arts | Monogram in the Movies | Sense and Sensibility Movie: Sense and Sensibility - 1995 Director: Ang Lee Synopsis: Emma Thompson won an Oscar for her screenplay - an adaptation of Jane Austen's novel of the same name. This 19th Century story begins with the death of Mr. Dashwood, and the passing of his estate to John (James Fleet) his son by his first marriage, as required by law.

This leaves his second wife and three daughters - Elinor, Marianne, and young Margaret - in difficult circumstances. Elinor (Emma Thompson), the oldest, is attracted to Edward Ferris (Hugh Grant), the younger brother of John's wife Fanny. Marianne (Kate Winslet) is courted by wealthy Colonel Brandon (Alan Rickman) but prefers the wildly handsome John Willoughby (Greg Wise). The two, lacking a dowry, may well end up as spinsters in this complex romantic tale. Scene: Elinor makes the acquaintance of Lucy Steele (Imogen Stubbs) at the home of family friend Mrs. Jennings. Lucy confides in her that she and Edward Ferris have been secretly engaged for five years - thus dashing Elinor's hopes for her own relationship with him. Monogram: Lucy, a manipulative type, feigns tears over her predicament, and wipes them away with Edward's monogrammed handkerchief (ECF). This is the second time we see one of these handkerchiefs - the first example was lovingly examined by Elinor, who received hers from Edward Ferris earlier in the story.

Contributed by: Beth Signoretti Oscar Vault Monday – Sense and Sensibility, 1995 (dir. Ang Lee) | the diary of a film history fanatic the diary of a film history fanatic Posted by cinemafanatic When I first saw Ang Lee’s adaptation of Jane Austen’s Sense and Sensibility , I had just finished reading the book and to be quite honest, I didn’t care for it all that much. Emma Thompson won an Oscar for her adapted screenplay and, when I first saw it, I was really unhappy with the changes she’d made to the story and some of the characters. But after repeat viewings, I fell deeply in love with the film, despite said changes. I think it’s really one of those times where you have to suit the story for a new medium and modern audiences (kind of like the 2006 version of The Painted Veil ). Sense and Sensibility was nominated for seven Academy Awards, winning one: Best Dramatic Score, Best Costume Design, Best Cinematography, Best Adapted Screenplay Emma Thompson (won), Best Supporting Actress Kate Winslet, Best Actress Emma Thompson and Best Picture.

The other films nominated for Best Picture that year were Apollo 13 , Babe , Il Postino and winner Braveheart . Both Ron Howard (Apollo 13) and Ang Lee were not nominated for Best Director, despite their films being nominated for Best Picture. Those two spots were given to Tim Robbins (Dead Man Walking) and Mike Figgis ( Leaving Las Vegas ). Lee, however, was nominated for Best Director by several critic associations, as well as at the BAFTAs, the Golden Globes and the DGA. He was also named Best Director by the National Board of Review. This film has a long and complicated production history (including multiple Wikipedia pages on the subject!), that I don’t really care to relate in this piece. Definitely check out the film’s pages on Wikipedia if you are interested. This was Ang Lee’s first film completely in English (Lee himself has an interesting history, which I urge you to read about) and since has been nominated for five Academy Awards, winning twice (plus accepting the award for Best Foreign Language film for Taiwan for his film Crouching Tiger, Hidden Dragon ).

His nominations were for Best Picture/Best Director for Crouching Tiger, Hidden Dragon, Best Director for Brokeback Mountain (won), Best Picture and Best Director (won) for Life of Pi. I also feel I need to point out that this film was produced by Lindsey Doran, who spent tens years developing the project. Her other films include Dead Again, The Firm and Stranger Than Fiction . The film begins with the death of Mr. Dashwood (Tom Wilkinson), who is being visited by his son John (James Fleet) and his wife Fanny (Harriet Walter). All of Dashwood’s property have to be left to his son, and his widow (his second wife) and their three daughters Elinor, Marianne and Margaret are left with nothing but a £500 a year inheritance. There’s two really wonderful scenes wherein Elinor discusses with her youngest sister Margaret how the inheritance laws worked in England at the time and how unfair it is to daughters. A little later she discusses a similar subject with Fanny’s brother Edward (Hugh Grant), who doesn’t want to become a barrister like his family wants.

There’s a little bit of class discussion in their conversation, as the Dashwoods are the kind of women who 1) are not used to working and 2) would be “judged” by their peers if they did do any work and 3) were ill-prepared for anything but marriage. Their conversation goes as follows: Elinor Dashwood: You talk of feeling idle and useless. Imagine how that is compounded when one has no hope and no choice of any occupation whatsoever. Edward Ferrars: Our circumstances are therefore precisely the same. Elinor Dashwood: Except that you will inherit your fortune. We cannot even earn ours. Little things like this allow Thompson the writer to inject latter-day feminism into Austen’s already quite feminist novel. I love Emma Thompson dearly, but she is definitely too old to be playing Elinor. That said, she is wonderful in this role and it is clear that she knows the character inside and out. Along with her Best Adapted Screenplay win, she also received a Best Actress nomination.

She’d been nominated for three Oscars prior to her work in this film: Best Actress for Howard’s End (1993, won), Best Actress for The Remains of the Day (1993) and Best Supporting Actress for In The Name of the Father (also 1993). I like the relationship between Edward and Elinor as portrayed by Thompson and Hugh Grant, as I think the two have really wonderful chemistry together. They are two awkward, quiet people and they find solace in each other’s company. Grant’s stuttering, gawky persona melds perfectly with the character as written and his posh accent is perfect for this kind of British “heritage” film. As the film’s plot goes, Edward’s sister Fanny wants more for her brother in terms of marriage than the, relatively poor Elinor and sends him away before their “attachment” grows into a full on “understanding.” This leads to Elinor’s mother to take some distant relatives up on their offer to allow them to rent a cottage on their property at a reasonable rate. I haven’t yet mentioned Kate Winslet as Marianne, mostly because the bulk of her story happens after the family moves to Devon.

I do, however, love our introduction to Marianne. She’s playing a depressing song on the piano after we discover the death of her father. Elinor asks her to play something a little less depressing, so she plays an even more depressing dirge. It’s a wonderful way to establish her character without having said a word. While in Austen’s original novel, it’s clear that Elinor represents “sense” and Marianne represents “sensibility,” the two share aspects of both temperaments in the film. The relative in Devon, Sir John Middleton, is played with gusto by Robert Hardy. His mother-in-law, Mrs. Jennings is currently visiting. She is one of those well-off widows who has money to burn and spends her days visiting everywhere and anywhere she pleases. She’s just married off her daughter (more on this later) and thus decides she must help Mrs. Dashwood marry of hers as well. Gemma Jones does an excellent job with the role of the recently widowed Mrs. Dashwood. She’s got the air of grief, but she’s not so overwhelmed with it that she neglects her daughters. Jones you will probably remember as the mother of Ms.

Bridget Jones in Bridget Jones’s Diary . Thompson definitely took liberties with the youngest Dashwood Margaret, giving her an interest in Geography, as well as expanding her relationships with her sisters’ suitors (like the fencing scene between her and Edward earlier in the film). This was actress Emilie François first film and according to IMDb, only one of three in which she appears. She graduated from Cambridge in 2003 and converted to Islam. She’s delightful in this film and it’s a shame we haven’t seen more of her. Early on after their move to Devon, the Dashwoods are invited to dine with Sir John and Mrs. Jennings. While there, Marianne plays the piano and just as she’s about to finish the oft-discussed, but as of yet unseen Colonel Brandon appears. I must say the casting of Alan Rickman in this role made me like him loads more than the description we received in the novel. Rickman is so gruff and yet so charming and his acting so subtle, it really elevates the part. I will neverrrrr get over the part where Margaret asks him if he’d actually been to the East Indies, then asks him what it’s like.

He replies, rather playfully, “the air is full of spices.” Every time I see Rickman, I hear him saying that in my head. Marianne, of course, doesn’t care for Brandon despite Mrs. Jennings’s best efforts to match the two up. She needs romance more like what she’s read in books. One day while out walking with Margaret, she sprains her ankle and, just like in a novel, a handsome stranger stumbles upon them and saves her, carrying her home. This as it turns out is John Willoughby, who is visiting a rich aunt nearby. Marianne, of course, falls for him instantly. Brandon, being the true gentleman he is, steps aside, despite what we can see are deep feelings. Winslet shines during this part of the film, filling the screen with amazing effervescence and joy. Wise and Winslet compliment each other perfectly matching passion for passion. It’s the quintessence of a storybook romance, brought to life. Winslet received her first of six Oscar nominations for her performance in this film (she was 18 while filming and later became the youngest person to receive six Oscar nominations).

Her nominations are as follows: Best Supporting Actress Sense and Sensibility (1995), Iris (2001), Best Actress Titanic (1997), Eternal Sunshine of the Spotless Mind (2004), Little Children (2006) and The Reader (2008, won). As always, things don’t end well between Willoughby and Marianne, mostly due to him being a cad (we all know what that means) and his need to make a quick – and rich – match before being disinherited. Wise apparently dated Winslet on the set for a while before she set him up with Thompson after her divorce from Kenneth Branagh was finalized. Wise and Thompson have been married since 2003. This scene kills me. KILLS ME. It’s different from how it was in the book, but it works. Oh boy does it work. Willoughby sends back all of Marianne’s love letters and then Elinor and Marianne have the following conversation: Elinor: Marianne, oh, Marianne – it is better to know at once what his intentions are.

Dearest, think of what you would have felt if your engagement had carried on for months and months before he chose to put an end to it. Marianne: We are not engaged. Elinor: But you wrote to him! I thought then that he must have left you with some kind of understanding? Marianne: No – he is not so unworthy as you think him. Elinor: Not so unworthy! Did he tell you that he loved you? Marianne: Yes. No – never absolutely. It was every day implied, but never declared. Sometimes I thought it had been, but it never was. He has broken no vow. Elinor:He has broken faith with all of us, he made us all believe he loved you. Marianne: He did! He did – he loved me as I loved him. There is sooooo much going on in that one exchange. Commentary on relationships, appearances, love, marriage, etc. etc. Which brings us to Imogen Stubbs as Lucy Steele. Lucy is one of Mrs. Jennings’s “poor relations” (in the book, she also has a sister).

As it turns out, she has been “secretly engaged” to Edward (yes, that Edward) for five years. This causes two really heartbreaking scenes with Elinor; one in which she is told this by Lucy and must keep her heartbreak in check so that Lucy doesn’t suspect anything, the other when Lucy reveals this to everyone (which causes quite a scene with Fanny) and Marianne confronts her: Marianne: Always resignation and acceptance. Always prudence and honour and duty. Elinor, where is your heart? Elinor Dashwood: What do you know of my heart? What do you know of anything but your own suffering. For weeks, Marianne, I’ve had this pressing on me without being at liberty to speak of it to a single creature. It was forced on me by the very person whose prior claims ruined all my hope. I have endured her exultations again and again whilst knowing myself to be divided from Edward forever. Believe me, Marianne, had I not been bound to silence I could have provided proof enough of a broken heart, even for you.

Scenes like this are why this film is a masterclass of acting, which I think is what happens when you have a script written by an actor. I just have to mention Hugh Laurie for a second. Laurie had done theatre with Thompson since the two of them were in Cambridge together. He is Mrs. Jennings’s son-in-law and he and his wife (played by Imelda Staunton), bring the girls from London to their estate (which just happens to be near Willoughby’s estate. Hmmmm…) Marianne, staying true to her overly romantic nature, goes out in a deluge to stare at Willoughby’s estate and lament her forever lost love (he’s married to a rich heiress at this point). This gives us a nice mirror moment, where Brandon saves Marianne in the rain, much like Willoughby had done earlier in the film. Marianne pulls through her pneumonia and later we see that she begins to see the love Brandon has for her is just as real as the passionate love Willoughby had for her, only his is perhaps stronger.

Elinor gets her happy ending as well, when Edward comes and reveals that after he was disinherited, Lucy married his younger brother Robert, whom the fortune was left to irrevocably (I’m not sure what that says about Lucy as a person, since it seems in an earlier scene that Lucy really did care for Robert and perhaps everything that happened wasn’t planned, it just wound up working out nicely for her, money-wise.) While the double wedding scene is beautiful and everything we want for our characters, one of my main problems with both the film and the story itself, is its insistence that marriage really is everything a woman can hope for in life. I understand when the book was written and thus when it is set, that would be the only future for these women, but I wish the film had a bit more to say about it being the only future for them. But I guess all films can’t be as forward thinking as Gillian Armstrong’s Little Women . And at least the two women end up with men who are truly their equals.

The very last shot of Willoughby is not quite how we leave the character in the novel, but I think it adds to the melancholic undertones of the film and serves as a greater comeuppance for the character, as he now gets to observe the love of his life in a happy state that he could have had if 1) he hadn’t been such a cad and 2) had chosen love over money. I have to end this post with Emma Thompson accepting her award for Best Screenplay at the Golden Globes wherein she pretends she is Jane Austen. It is the most fabulous of things. Emma Thompson - Awards - IMDb Emma Thompson Showing all 58 wins and 96 nominations Academy Awards, USA Live from Lincoln Center (1976) For "Sweeney Todd: The Demon Barber of Fleet Street - In Concert with the New York Philharmonic". ... More For "Sweeney Todd: The Demon Barber of Fleet Street - In Concert with the New York Philharmonic". For playing "Mrs. Lovett". For playing "Herself". For episode "Emma". BAFTA Awards As the voice of "Captain Amelia".

Awards Circuit Community Awards Evening Standard British Film Award Best Comedy Evening Standard British Film Award Best Actress Evening Standard British Film Award Best Screenplay Evening Standard British Film Award Best Actress Evening Standard British Film Award Best Actress Gold Derby TV Award TV Movie/Mini Lead Actress For the Lincoln Center presentation of Stephen Sondheim 's "Sweeney Todd: The Demon Barber of Fleet ... More For the Lincoln Center presentation of Stephen Sondheim 's "Sweeney Todd: The Demon Barber of Fleet Street". Star on the Walk of Fame Motion Picture On 6 August 2010. At 6714 Hollywood Blvd. Washington DC Area Film Critics Association Awards Won Lifetime Achievement Award For her eclecticism in switching from period films to fantasy genre, to contemporary settings. And ... More For her eclecticism in switching from period films to fantasy genre, to contemporary settings. And embodying all kinds of women with raw and pure interpretations.

Maggie Gyllenhaal and Emma Thompson Interview By Jenny Allen Jul 7, 2010 Show business friendships tend to be fleeting ones: Thrown together on location, working intense 12-hour days, actors can connect deeply, and then, poof — their work done, they're on to the next project, the friendship a fond but hazy memory. Not so with Emma Thompson and Maggie Gyllenhaal. The stars met five years ago, on location for Stranger Than Fiction, the quirky romantic comedy they starred in with Will Ferrell, and they have been friends ever since. In the past few years, both have pursued remarkable careers — Thompson reprising her role as Professor Trelawney in the Harry Potter series, among other roles; Gyllenhaal earning an Oscar nomination for Crazy Heart — while nurturing their equally involving personal lives. Both are married to actors and pride themselves on being very hands-on parents. Advertisement - Continue Reading Below Their most recent collaboration is Nanny McPhee Returns, opening this month, which Emma — who won an Oscar for her screenplay for Sense and Sensibility — wrote, produced, and costars in.

(It's a sequel to her 2005 hit Nanny McPhee, about a remarkably homely, formidable but kind caregiver.) Emma admits that she had her pal Maggie firmly in mind while writing the script. We sat down with the pair recently and listened in as they shared some surprising ideas about marriage, mommyhood, and work — and where exactly a woman's priorities really lie. GH: Emma, what was your first impression of Maggie? Did you sense that you might become friends? Emma: I just thought, "What an interesting person; I can't wait to have a proper conversation." Maggie: And we did really quickly have a proper conversation. We had a couple of teas and lunches. And then a couple of years later, we were in London again, when Peter [Sarsgaard, her husband] was working, and Ramona [their daughter, age 3 1/2] and I were just hanging out together. It was a rainy, cold March, and Emma invited us over for lunch. Most Popular Emma: I understand what it's like to come with your family, and to uproot yourself and come to another culture. You need a lot of support.

People...say, "She's got her daughter; she's got her husband." Yeah, but she hasn't got anyone else. Maggie: Do you remember? Ramona was all dressed— Emma: The entire child looked like she had been knitted by hand. Maggie: Not by me! [They both laugh.] GH: What did you talk about when you were getting to know each other? Maggie: We talked about kind of everything. We got down to the bone — we really did make friends that way. Emma: You were a young, young mum. And I remember saying to you, "It's really hard, and don't let anyone tell you that it isn't." GH: Show business friendships are often pretty brief. But you're real friends, and I assume that's because you really do admire each other. Emma, what's the quality you most admire in Maggie? Emma: Not being all about how she looks. A lot of very beautiful women can be a pain because all they're thinking about is how they look. Maggie's not trammeled with all of that. She's very beautiful, but there's nothing spoiled about her. GH: How about you, Maggie?

You've said that you want to be Emma when you grow up. Maggie: What I meant was that Emma is a grown-up. I'm 32, and I'm realizing how much of me is not a grown-up.... And I don't say that because she is perfectly organized and makes everything function perfectly, but because of a much deeper sense she has of herself in the world. And I admire that and I hope to be like that. Emma: I do think that despite my best efforts to resist it, I am now a grown-up. It's due to lots of very difficult decisions that you make over a long period of time — about motherhood, wifehood, and work, and all the things that one has to make decisions about. And not being as involved in yourself as you were.... I'm 51, so I have a very, very different perspective. Advertisement - Continue Reading Below I certainly wasn't grown up at 32. One is a child when one has a child. No one says, "You will never be the same again." Which is the truth! And we're all supposed to be happy all the time. What is that about?

Why have we lost contact with the possibility of saying, "Do you know what? I can't do that. Sorry, I can't manage that as well." Maggie: Emma gave me the best piece of advice, and I'm happy to share it. I had one day on the set [of Nanny McPhee Returns] when I was overwhelmed. I was a newlywed, I had a 2-year-old...I had quite a long scene with five children and animals, and I remember cracking a little bit. You're not allowed to fall completely apart when you're carrying a movie; you're a professional — but I did one day, just a little bit. Nobody knew but Emma, and she said, "Mags, you have got to allow yourself to drop the ball, because nobody can keep all those balls in the air." Emma: I don't want your readers ever to think they have to have it all. I think that's a revolting concept. It's so false! Sometimes you'll have some things, and sometimes you'll have other things. And you do not need it all at once; it's not good for you.

You can't be a great mom and work the whole time necessarily; those two things aren't ideal. We have an awful lot to work on and to debate about in relation to our working lives, because it isn't working for a lot of people, particularly for a lot of women.... The only way you can have it all is by delegating all the running of the home to other people — which I don't ever want to do, nor does Mags. So you do it yourself, and it takes time and energy and effort. And if you give it the time, it's profoundly enjoyable. Maggie: I do care about my home feeling warm and clean and loving and welcoming, and that takes a lot of work. I mean, I had no idea how much work that takes. I am just getting above water on that. When I was pregnant, we bought a four-story brownstone — we'd been living in this little apartment. I didn't know what I was taking on; I didn't know how to manage it at all. I got this book called Home Comforts, about the basics of housekeeping and homemaking. And I am fascinated by it.

How there's a marketing day — or a day when you do the big shop — and another when you do a little shop. And organizing all the meals for the week. And truly how if you're organized, how different your life is. Advertisement - Continue Reading Below I'm not naturally organized, but I'm getting there. Being a mother has absolutely forced me. You have to write things down and have systems for all of it. And then you set up systems and you realize they don't work. [Laughs.] That's the stage I'm in now: "I set up all the systems! Why isn't this working?" And then you have to change them. Most Popular GH: Emma, what's your approach to housekeeping? Emma: We all do the washing up and the clearing up and the cooking — that's all part of life, and that's a pleasure. And I do love folding the wash and putting it away. I do the housekeeping in Scotland [where she has a country house] — but it's very rustic. I have the smallest kitchen, and I have to keep it very, very clean. Maggie: I was just teaching Ramona her first chore.

It's just carrying her little plate to the trash, scraping off the food, and putting it into the dishwasher. Emma: Lovely. Maggie: You know what I told her? I said, "When you go to other people's houses, you'll start to put your dish in the dishwasher and they'll say, 'Oh, no no no, don't do that.' Do it anyway." We went to dinner at these other people's house, and we started to put our dishes in the dishwasher, and they said that, and she said, "MAAAAAA!" I said, "See? People always say that. It doesn't mean they don't want you to put it in the dishwasher." GH: What are the parenting rules you really won't budge on? Emma: Only fight the really important battles. Sometimes be a bit naughty and anarchic. Surprise them. Stress the value and bliss of sleep. Maggie: We don't hit; I say, "In our family, we don't hit." But Ramona isn't a challenge that way. She's always been really verbal and able to express herself well, and we're pretty verbal too, so we can have conversations.

GH: Neither of you has a regular nanny, and both of you spend a lot of time with your daughters. What have you been up to with your girls lately? Emma: We have "hair salon" once a week in our bathroom. And I go in to my daughter's school; I've done two productions with her. One year, they wanted to do the history of the world, which turned out to start with Slime — it was a musical, that was the first number — then went to Cavemen; then after that it went straight to the Plague, an interesting thing. Then Victorians, then Global Warming and Drowning, and then Aliens. And then the Aliens turning back into Slime. It was very good, lots of very good lyrics. I really did love doing it. Advertisement - Continue Reading Below GH: Maggie, what do you like doing with Ramona? Any favorite games? Maggie: I am playful, although I don't believe it's the mother's job to be constantly entertaining her child. There's something nice about just coexisting — just to be with her, take her on errands. We get our nails done at the nail place on the corner, and that's nice.

I didn't do that kind of thing much with my mother; she didn't wear makeup or high heels; she didn't, you know, moisturize. My mother [Naomi Foner, a producer and an award-winning screenwriter] was interested in political things. The joy of femininity wasn't something she stressed. But all those feminine things can be wonderful, and I have really enjoyed finding all that stuff on my own. It's nice to watch your mother sitting at a vanity. I do that. I almost never wear makeup, but sometimes when I'm going out I'll do more, and my daughter loves watching. GH: Now, how do you and your husbands, who are also actors, divide up child-care responsibilities? Emma: Well, we're mostly around, so it's either me or Greg [Wise, her husband] who picks up Gaia [their daughter, age 10] from school. And we take turns working. Maggie: In our case, it has to be me more — for me, [a mother has] a different kind of connection to a child. The mother is the one who carried the baby around inside her. There's something undeniable about that.

GH: Can you each describe your husband in two or three words? Emma: Exceptional, sensuous, and overactive. I love my husband's face — and his Donald Duck impression. Maggie: I'm terrible at this sort of thing; I can't do it. The big thing is we're able to talk to each other, which I think is pretty remarkable, to shift things and change things when we need to, and we care enough about each other to try to do that. That's an amazing thing about him. He's better at that than I am. Also, Emma, you kind of gave me the idea that a part of my life, a part of my mind, has to be devoted to my husband. My mother's generation has been bucking against that. But I've just been finding so much pleasure in sacrificing sometimes for my husband — going to where he's working and tidying up his trailer because he couldn't manage to do it, and bringing him things that will make him feel better, and being a wife in a more classical way. It feels really right to me. GH: Do you have date nights, or is that hard to manage? Maggie: At this point it's not that hard.

Our daughter's 3 1/2, we don't have another child yet, so I definitely cherish this little bit of freedom we have at the moment. We don't leave her alone [with a sitter] hardly ever overnight — but we go out to dinner, we see friends. But we usually put her to sleep first. GH: How about you, Emma? Emma: We're not big goer-outers. GH: How about family rituals — what are yours? Emma: Tickling Dad — he's very ticklish. Oh, and cards in front of the fire, books in bed... Advertisement - Continue Reading Below Maggie: A lot of our rituals are around food. We all have breakfast together, and dinner. GH: What role does faith play in your family life? Maggie, I read that you celebrated Christmas this year with food from a Jewish deli. Maggie: [laughs] Yeah. I'm half Jewish and half Christian. I identify more as Jewish. My mom's Jewish, and so all the Jewish cultural heritage got handed down to me. And I think of Ramona as half Jewish and half Catholic. Peter's Catholic, and he takes it pretty seriously, in his way.

That doesn't mean he goes to church all the time. It's something deeper inside him. So we mix it up. I have my Jewish grandmother's bowls, and I know how to make chicken soup in a way that Jewish mothers make it, and we have Passover seder. Ramona's really interested in all that right now. Most Popular Emma: I was brought up within the Christian tradition, [but] I had a fairly secular upbringing. The guiding moral principles, the ethical principles, much of the philosophy, if properly applied, is very good. And I love Christmas. I know all the carols and all the songs, and Greg used to sing in the choir, so in spite of our secularism, we observe the Christmas tradition. And we talk about the [Christmas] story. It's a very great story, and I grew up with it. It's very interesting and full of metaphor. GH: You're both incredibly busy. What do you each do for yourselves? Emma: Do you know what I've taken to doing? Walking. I love it. But if I have to get somewhere quickly, I take the Tube [subway].... I do Pilates. I read, see friends.

I lie about, staring into space. Maggie: I do yoga, which is actually a big chunk of time — it's two and a half hours to myself. I've been doing yoga for a while, and I'm good at it, so it gives me pleasure. I like to cook. I put Ramona to sleep, put on an album, measure everything out, put it in bowls. I used to cook the way my parents cooked: They'd have a dinner party, and they'd still be cooking when their friends came over. When I cook that way, I have a terrible time. I can manage making salad when I have people over — anything else, I just can't manage it. My brother [actor Jake Gyllenhaal] is an incredible chef, a really gifted chef, and he can cook that way. I can't do all those things at once! GH: Any favorite recipes? Maggie: I'll give you one that's so easy: Buy salmon steaks; put lemon juice, olive oil, and lots of sea salt in a cup; whisk it up; pour it over the salmon steaks; and put them on Broil on each side for five minutes. They are foolproof.

I have a rice cooker, so I put some rice in it, steam some broccoli, and it's a beautiful dinner. It takes 20 minutes. GH: Emma, how about you? Maggie: How about Yorkshire pudding? Emma: That's the best! Well, you have to have Yorkshire pudding tins [popover pans]. And you'll need 1 1/2 cups of flour, 3/4 cup each of milk and water, and 4 eggs, all mixed up into a batter dough. Then get your beef drippings [they accompany roast beef], and you put a dot into each pan. And when you've taken the beef out and it's sitting, you put your tins in and wait until the fat is smoking, take them out, quickly put in a ladleful of Yorkshire pudding mix, and straight back in for about 25 minutes at the highest-temperature oven (475 degrees). It fills the kitchen with blue smoke. You'll have to open the door and the window and go, "Smoke! Smoke coming through!" It makes an event, you know. GH: That sounds like fun, in a terrifying sort of way.

Now, since you're such good friends, maybe we could end by talking about the importance of friends in your lives. Emma: Girlfriends are vital, aren't they? Maggie: It's a totally different relationship from a husband or someone in your family. And I think it's pretty unusual when you're a grown-up to make friends. I have a couple of girlfriends that I make a really big effort to see consistently, and we go and have dinner and drink some wine and talk. I have one girlfriend who lives in Brooklyn near me, and we do that once a week if I'm here. Emma: And Maggie and I will always see each other when Maggie's in London or I'm here. We'll always make time to sit and catch up properly. As long as you get a good couple of hours of dinner or lunch.... Even though we don't have a long history, I would still ring you up in the middle of the night and say, "Maggie, I really need your help; just talk to me now." Maggie: So would I. Emma: And that's very unusual. So expect a call at about 4 a.m.

Maggie Gyllenhaal Keira Knightley: Sense and Sensibility screenplay helped me overcome dyslexia - Telegraph Celebrity news Keira Knightley: Sense and Sensibility screenplay helped me overcome dyslexia Keira Knightley, the actress, has disclosed that she overcame dyslexia as a child by reading a screenplay by Emma Thompson.

Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ Photo: Norman Jean Roy / GQ Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ Image 1 of 4 Keira Knightley appears on the cover of the March issue of GQ, out Thursday 2nd February 2011 Photo: Norman Jean Roy/GQ By Murray Wardrop 6:30AM GMT 31 Jan 2012 The 26-year-old said the only way she was able to get over her learning disability was by reading the screenplay for Sense and Sensibility, and imagining what Thompson would do in her shoes. Knightley, who was diagnosed with dyslexia at the age of six, said she was a “huge fan” of the 52-year-old Cambridge-educated actress and screenwriter, who won an Oscar for her film adaptation of the Jane Austen novel.

She told GQ magazine : “My mum who worked with her [Thompson] on Sense and Sensibility got me a copy of the screenplay Emma had written. “And I was – am – dyslexic and the way she got me over it was to say: ‘If Emma Thompson couldn’t read, she’d make ------- sure she'd get over it, so you have to start reading, because that’s what Emma Thompson would do’.” She eventually left her mixed comprehensive school in Teddington with a string of GCSEs, some at A* grade, having struck a deal with her parents that she would study every day to overcome her dyslexia if they got her an agent. Related Articles Keira and Carey shine at film awards 11 Jan 2012 Knightley, who won wide acclaim for her role as Elizabeth Bennet in the 2005 movie adaptation of Austen's Pride and Prejudice, added that she was sometimes reduced to tears by poor reviews of her work or comments she overheard as a student at school, but soon learned how to deal with criticism.

She once said in an interview: "I did a film called The Hole when I was 16 and, when it came out, a couple of the popular girls at school said, quite loudly, 'She's in a crap movie, so it doesn't count', "It was rude and I was upset, but if you let that stuff bother you, you're going to be in for a tough time. I wasn't popular at school. I learned to let those comments wash over me. I toughened up quite quickly." It is often said that children and adults with dyslexia are drawn to acting because of their social perception and powers of observation and imitation that enable them to 'get into the minds' of different characters. Famous dyslexic actors include Orlando Bloom, Keanu Reeves, Tom Cruise, Vince Vaughn and Whoopi Goldberg.

Question: Which Emma won an Oscar for her screenplay of Sense and Sensibility?
Answer: Thompson