The elusive Madonna is forced to face the press, something she has avoided in the last few years, to promote her latest directorial venture W.E., a romantic exploration of the mysterious connection across decades between two women—Wally Winthrop and Wallis Simpson— confronting the consequences of desire.
Madonna looks very serene as she enters the room wearing a red blouse, a black pencil skirt and black heels, all designed by Yves Saint Laurent. The bracelet she sports on her wrist is one-of-a-kind, made exclusively for her by Cartier. She is carrying a black purse designed by Givenchy and on her wrist is a Jacob & Co. watch. Around her neck she displays a W.E. necklace designed by Neil Lane. The expensive outfit somehow looks understated on her. I guess we are more used to seeing her on stage and in videos in outrageous outfits. She sits down, takes a sip of water
and is ready for my questions.
With W.E., what interested you in a parallel plot in order to tell the story of the royal romance?
I needed to have a character in the film that had a point of view; I didn’t want to do a biopic because I find that one person’s life is so complex that it would be impossible to sum it all up
in two hours. It made more sense for me to tell the story from another person’s point of view; in that way, I wasn’t required to tell every aspect of her life. I also think that truth is subjective depending on who you are and where you’re standing. For instance, you could read about a person and have a completely different point of view from another person. So I created the character of Wally, who lives vicariously through the story of the Duchess. This gave me more freedom to tell the story.
(Read more in the Jan-Feb 2012 issue of Time 'n Style. On Stands Now!)
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