Scarlett Johansson

Recently I knew the reason for the changes of look of Scarlett Johansson in the girl with the Pearl Earring (2003). Showing front, covered up to the eyebrows, hovering half front and thus alternating throughout the work. Told it its director, Peter Webber, also director of Hannibal, the origin of evil (2007) – prequel to the famous saga of Hannibal Lecter – and a two meters under the ground (Six Feet Under), among many other things. Forehead of Scarlett was not a problem of art or wardrobe but hamburgers. McDonalds to be more concrete. Sole food source of the actress in your Japanese stay with Sofia Coppola, in the filming of Lost in Translation.

He arrived in his next film, the Webber, as if it were a map of grain, despite 100% beef which strives to promote the multinational American, and clear to cover them with the Dutch Cap until they disappeared!, because neither the denser makeup could with them. But anyone who has seen the film, hope that it is locked into something more than the front of Scarlett and no been able to savor the fantastic subjective world between painter and model, created by the director. A masterful lesson in subtext, with two actors who have managed to embody it. Not infrequently, some of my students when I defend the virtues of the subtext, are rushing to wonder whether in this or that film, what happens beyond the words of a certain scene writer had specified it or not. But how will I know if I have not read the script? In this case, I am sure transmitted by an original source. It wasn’t like that. Peter Webber, amputating the screenplay Olivia Hetreed had adapted from the novel by Tracy Chevalier, mercilessly created the subtext which earned him a showdown with her, disappointed to see how his first led to film work was stripped of his garments to become different projection entity.