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French postcard by Sonis, no. C. 563. Photo: Hachette Premiere / Hans Silvester -Rapho / Le Moult. Juliette Binoche and Olivier Martinez in Le hussard sur le toit/The Horseman on the Roof (Jean-Paul Rappeneau, 1995).
French actress Juliette Binoche (1964) has appeared in more than 60 international films. She won numerous international awards and has appeared on stage across the world. André Téchiné made her a star in France with the leading role in his drama Rendez-vous (1985). Her sensual performance in The Unbearable Lightness of Being (Philip Kaufman, 1988) launched her international career. Other career highlights are her roles in Three Colors: Blue (Krzysztof Kieślowski, 1993), The English Patient (Anthony Minghella, 1996), for which she won an Oscar, and Caché (Michael Haneke, 2005).
Juliette Binoche was born in Paris, in 1964. She was the daughter of Jean-Marie Binoche, a director, actor, and sculptor, and Monique Yvette Stalens, a teacher, director, and actress. She is the sister of actress/photographer Marion Stalens. Her parents divorced when she was four, so she grew up living between each parent and a Catholic boarding school. In her teenage years, Juliette began acting at school in stage productions. At 17 she directed and starred in a student production of the Eugène Ionesco play, Exit the King. She studied acting at the Conservatoire National Supérieur d'Art Dramatique (CNSAD) but quit after a short time as she disliked the curriculum. In the early 1980s, she found an agent through a friend and joined a theatre troupe, touring France, Belgium, and Switzerland under the pseudonym Juliette Adrienne. After performing in several stage productions and a few TV productions, Binoche secured her first feature-film appearance with a minor role in the drama Liberty Belle (Pascal Kané, 1983). Her role required just two days on–set but was enough to inspire Binoche to pursue a career in film. In 1983, she auditioned for the female lead in Jean-Luc Godard's controversial Je vous salue, Marie/Hail Mary (1985), a modern retelling of the Virgin birth. She spent six months on the set of the film in Geneva, although her role in the final cut only contained a few scenes. She gained more significant exposure in Jacques Doillon's critically acclaimed La Vie de Famille/Family Life (1985), cast as the volatile teenage step-daughter of Sami Frey's central character. Director André Téchiné made her a star in France with the leading role in his provocative erotic drama Rendez-vous (1985). The film, co-starring Lambert Wilson and Jean-Louis Trintignant, premiered at the 1985 Cannes Film Festival, winning Best Director. Rendez-vous was a sensation and Binoche became the darling of the festival. In 1986, Binoche was nominated for her first César for Best Actress in a Leading Role for her performance. She starred opposite Michel Piccoli in the avant-garde thriller Mauvais Sang/Bad Blood (Leos Carax, 1986). Binoche plays Anna the vastly younger lover of Marc (Piccoli) who falls in love with Alex (Denis Lavant), a young thief. Mauvais Sang was a critical and commercial success, leading to Binoche's second César nomination. She gave a sensual performance opposite Daniel Day-Lewis in The Unbearable Lightness of Being (Philip Kaufman, 1988), the adaptation of Milan Kundera's novel. It was Binoche's first English language role and was a worldwide success with critics and audiences alike. In the summer of 1988, Binoche returned to the stage in an acclaimed production of Anton Chekhov's The Seagull directed by Russian director Andrei Konchalovsky at Théâtre De L'odéon in Paris. Later that year she began work on Léos Carax's Les Amants du Pont-Neuf. The film was beset by problems and took three years to complete, requiring investment from three producers and funds from the French government. When finally released in 1991, Les Amants du Pont-Neuf was a critical success. Binoche won a European Film Award and her third César nomination for her performance.
Juliette Binoche chose to pursue an international career outside France. Binoche relocated to London for the Emily Bronte adaptation of Wuthering Heights (Peter Kosminsky, 1992) with Ralph Fiennes as Heathcliff, and Damage (Louis Malle, 1992) with Jeremy Irons, both enhanced her international reputation. For her performance in Damage, Binoche received her fourth César nomination. She sparked the interest of Steven Spielberg, who offered her roles in three films: Indiana Jones and the Last Crusade (1989), Jurassic Park (1993), and Schindler's List (1993), for which she declined. Instead, she chose for Trois couleurs : Bleu/Three Colors: Blue (Krzysztof Kieślowski, 1993), for which she won the Venice Film Festival Award for Best Actress and a César. The first film in a trilogy inspired by the ideals of the French republic and the colors of its flag, Three Colors: Blue is the story of a young woman who loses her composer husband and daughter in a car accident. Though devastated she learns to cope by rejecting her previous life by rejecting all people, belongings, and emotions. Binoche made cameo appearances in the other two films in Kieślowski's trilogy, Trois couleurs : Blanc/Three Colors: White (1994) and Three Colors: Red/ Trois couleurs : Rouge (1994). Binoche took a short sabbatical during which she gave birth to her son Raphaël in September 1993. In 1995, she returned to the screen in a big-budget adaptation of Jean Giono's Le hussard sur le toit/The Horseman on the Roof (Jean-Paul Rappeneau, 1995) with Olivier Martinez. At the time, it was the most expensive film in the history of French cinema. The film was a box-office success around the world and Binoche was again nominated for a César for Best Actress. She gained further acclaim in The English Patient (Anthony Minghella, 1996), for which she was awarded an Academy Award and a BAFTA for Best Supporting Actress in addition to the Best Actress Award at the 1997 Berlin International Film Festival. Juliette Binoche was reunited with director André Téchiné for Alice et Martin (1998), the story of a relationship between an emotionally damaged Parisian musician and her younger lover who hides a dark family secret. Binoche appeared on stage in a 1998 London production of Luigi Pirandello's Clothe the Naked retitled Naked and in a 2000 production of Harold Pinter's Betrayal on Broadway for which she was nominated for a Tony Award. Between 1995 and 2000, she was also the advertising face of the Lancôme perfume Poème.
Juliette Binoche was nominated for an Academy Award for Best Actress for her performance opposite Johnny Depp in the romantic comedy Chocolat (Lasse Hallström, 2000). Another hit was the period drama La Veuve de Saint-Pierre (Patrice Leconte, 2000), for which she was nominated for a César for Best Actress. Opposite Daniel Auteuil, she played the role of a woman who attempts to save a condemned man from the guillotine. The film won favourable reviews and was nominated for a Golden Globe for Best Foreign Language Film. Next, she appeared in Code Unknown (Michael Haneke, 2000), a film that was made following Binoche's approach to the Austrian director. Her critically acclaimed role was a welcome change from playing the romantic heroine in a series of costume dramas. During the following decade, she maintained a successful career, alternating between French and English language roles in both mainstream and art-house productions. "La Binoche" appeared in such films as Jet Lag (Daniele Thompson, 2002) opposite Jean Reno, Caché (Michael Haneke, 2005), Breaking and Entering (Anthony Minghella, 2006) with Jude Law, and Flight of the Red Balloon (Hou Hsiao-Hsien, 2007). Paying homage to Albert Lamorisse's 1957 short The Red Balloon, Hou's film tells the story of a woman's efforts to juggle her responsibilities as a single mother with her commitment to her career as a voice artist. Shot on location in Paris, the film was entirely improvised by the cast. In 2008 Binoche began a world tour with a modern dance production titled in-i, co-created in collaboration with Akram Khan. In 2010, she won the Best Actress Award at the Cannes Film Festival for her role in Abbas Kiarostami's Certified Copy making her the first actress to win the European ‘Best Actress Triple Crown’ for winning best actress award at the Berlin, Cannes, and Venice film festivals. Later films include Cosmopolis (David Cronenberg, 2011) with Robert Pattinson, Camille Claudel 1915 (Bruno Dumont, 2013), and Clouds of Sils Maria (Olivier Assayas, 2014). In 2015, Binoche starred on stage in a new English language translation of 'Antigone', directed by Ivo van Hove. Binoche has two children: a son Raphaël (1993), whose father is André Halle, a professional scuba diver, and a daughter Hana (1999), whose father is actor Benoît Magimel, with whom Binoche starred in Les Enfants du Siècle/Children of the Century (Diane Kurys, 1999).
Sources: Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
[ " Séance Improvisè" ]
**Ma page : www.facebook.com/Mod%C3%A8le-Amateur-Emilie-6542657446290...
**Le Photographe : Mickaël Wimmer
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**Make-up / Et page : " Par mes soins " www.facebook.com/Emilang08/?modal=admin_todo_tour
**Réaliser en : " Avril 2019 "
N’hésitez pas a me donnez vos avis et a aimer ça fait toujours plaisir ! :)
acrylic, marker, ink, watersoluble pastels
42x60cm 250g/m2 paper
GROUPS AWARDS IN COMMENTS WILL BE DELETED
A recent windfall along my driveway in the process of dismemberment, lends a skyhook to load a Timbercar.
Damage was slight, broke one crossing plank and one rail bent downwards slightly, just missed my Trailer by 6". Whew!
The kit and its assembly:
Another entry for the “Flying Boat, Seaplane and Amphibian” Group Build at whatifmodelers.com in late 2017, and the result of a spontaneous inspiration from a drawing of a Luft’46/fantasy creation of a Me 262 fuselage with a planning bottom, a parasol(!) wing and a single jet engine exhausting right above the cockpit, and no (visible) stabilizing floats at all. Rather spurious.
Well, nevertheless, the Me 262 jet fighter has a very shark-like profile and shape, and it has already been converted into flying boats or even submarines by modelers, and I decided to create my personal interpretation of the theme. I remembered a lone He 115 float in my stash (maybe 35 years old or even more!), and when I held to a Me 262 fuselage the parts had almost the same length and width. So, creating a flying boat jet fighter seemed like a realistic task.
Things started straightforward with an 1:72 Smer Me 262 fighter, which is actually the vintage Heller two-seater night fighter with a new fuselage and canopy. My kit of choice would have been the Matchbox kit, but the Heller kit is also O.K., due to its simplicity and simple construction.
Creating something amphibian from a Me 262 is not a trivial task, though. With its low wings and underslung engine nacelles there’s a lot to be changed until you get a plausible floatplane. Another challenge is to integrate some form of stabilizer/outrigger floats, what also influences the wings’ position. Placing the engines where they are safe from spray ingestion is also a serious matter – you have to get the high and the intakes as far forward as possible.
Doing some legwork I found some similar builds, and they all did not convince me. And, after all, I wanted to create my own “design”; in order to incorporate some realism I eventually settled on Dornier’s typical WWII designs like the Do 18 and Do 24. These elegant aircraft had a common, elegant trait: low stub wings as stabilizer floats, paired with high wings (in the case of the Do 18 held by a massive central pylon) which carried the engine out of the water’s reach. This appeared like a feasible layout for my conversion, even though it would mean a total re-construction of the kit, or rather assembling it in a way that almost no part was glued into the intended place!
Work started with the cockpit, which had to be moved forward in order to make room for the wings behind the canopy, placed high on a pylon above the fuselage. For this stunt, the cockpit opening and the place in front of it (where the original front fuselage tank would be) were cut out and switched. The cockpit tub was moved forward and trimmed in order to fit into the new place. The nose section was filled with lead, because the stub wings/floats would allow a retractable landing gear to be added, too, making the aircraft a true amphibian!
The He 115 float was cut down in order to fit under the OOB Me 262 fuselage, and a front wheel well was integrated for a tricycle landing gear. Once the fuselage was closed, the planning bottom was added and the flanks sculpted with putty – lots of it.
In the meantime the Me 262 wing received a thorough re-arrangement, too. Not only were the engine nacelles moved to the upper wing surface (cutting the respective wing and intake sections of the nacelles off/out and turning them around 180°), the original connecting ventral wing part with the landing gear wells were turned upside down, too, the landing gear covers closed (with the respective OOB parts) and the inner wing sections modified into a gull wing, raising the engines even further. VERY complex task, and blending/re-shaping everything took a lot of PSR, too.
Under the central wing section I added a pylon left over from a Smer Curtiss SC Seahawk kit, because a massive Do 18-esque construction was out of question for a fast jet aircraft. The gaps were filled with putty, too.
In order to keep the stabilizers free from water spray they were moved upwards on the fin, too. The original attachment points were sanded away and hidden under putty, and the OOB stabilizers placed almost at the top at the fin.
Finding suitable stub wings/floats became a challenge: they have to be relatively thick (yielding buoyancy and also offering room for the retractable landing gear), but also short with not-so-rounded tips. It took a while until I found suitable donor parts in the form of the tips of an 1:32 AH-64 Apache (!) stabilizer! They were simply cut off, and openings for the main landing gear cut into their lower sides.
Once glued to the lower flanks and the stabilizers in place it was time to place the wing. In the meantime the moved cockpit had been blended to the fuselage, and initial tests indicated that the pylon would have to be placed right behind the canopy – actually on top of the end of the clear part. As a consequence the canopy was cut into pieces and its rear section integrated into the fuselage (more PSR).
However, the relatively thin and slender central pylon from the Curtiss SC indicated that some more struts would be necessary in order to ensure stability – very retro, and not really suited for a jet-powered aircraft. And the more I looked at the layout, the more I became convinced that the wings and engines were in a plausible position, but placed too high.
What started next were several sessions in which I shortened the pylon step by step, until I was satisfied with the overall proportions. This went so far that almost everything of the pylon had gone, and the wings almost rested directly on the Me 262’s spine!
However, this new layout offered the benefit of rendering the extra struts obsolete, since I decided to fill the small gap between wing and fuselage into a single, massive fairing. This would also mean more internal space, and consequently the original idea of a jet-powered combat aircraft was modified into a fast multi-purpose amphibian vehicle for special tasks, capable of transporting personnel behind enemy lines with a quick move.
More PSR, though, and after some finishing touches like a scratched landing gear (front leg/wheel from an Italeri Bae Hawk, main struts from a Mistercraft PZL Iskra trainer, wheels from an Academy OV-10 Bronco and with improvised covers), several antennae and mooring lugs made from wire, the aircraft was ready for painting. On the downside, though, almost any surface detail had been lost due to the massive, overall body sculpting – but the application of the light zigzag pattern helped to recreate some “illusionary” details like flaps or panel lines. ;-)
This quickie set was thrown together using some anywhere doors and stairs I found in my inventory. I only spent L$99 on marketplace for the lights & switch. The set is based on a real location. The entire set with four Anypose stands uses 42 prims.
An HDR inside view of the old saw mill where happened last sunday's shooting. Most of the shots were done at the back and inside the mill's garage.
Aside that day being a bit coldish, it was all good fun.
Because of an arrangement made with the owner, this location won't be mapped. Thanks for understanding.
Else, feel free to share.