Nessa stein autobiography

Maggie Gyllenhaal

American actress and filmmaker (born 1977)

Margalit Ruth "Maggie" Gyllenhaal[a] (JIL-ən-hawl,[1]Swedish:[ˈjʏ̂lːɛnˌhɑːl]; born November 16, 1977) is an American actress and filmmaker. Part of the Gyllenhaal family, she is the daughter of filmmakers Stephen Gyllenhaal and Naomi Achs, and the older sister of actor Jake Gyllenhaal.

She began her career as a teenager with small roles in several of her father's films, and appeared with her brother in the cult favorite Donnie Darko (2001). She then appeared in Adaptation,Confessions of a Dangerous Mind (both 2002), and Mona Lisa Smile (2003). Gyllenhaal received critical acclaim for her leading performances in the erotic romantic comedy drama Secretary (2002) and the drama Sherrybaby (2006), each of which earned her a Golden Globe Award nomination. After several commercially successful films in 2006, including World Trade Center, she received wider recognition for playing Rachel Dawes in the superhero film The Dark Knight (2008).

For her performance as a single

Q&A with Hugo Blick, Writer, Producer and Director of The Honourable Woman

What was the inspiration behind the series?

The Honourable Woman is about Nessa Stein. The series centres around a woman who is deeply conflicted about past events, events that have haunted her, it is the reason why she is constantly battling a consuming internal conflict – this internal struggle for reconciliation with her past and her search for personal equilibrium – is manifested in her political activities – to try to reconcile a conflict that has equally haunted a region of the world, countless lives, and political agendas for many years.

Did you always have Maggie Gyllenhaal in mind?

Nessa Stein carried deep emotional complexity; from a professional requirement, I cannot possibly think of anyone better suited to deliver on this. Also it might be interesting to note that the role demanded an atmosphere of internationalism: Nessa is neither wholly Israeli nor British and to a degree this rootlessness, in tandem to

Giving drama a backdrop of contemporary world events is a double-edged sword.

While it lends realism and gravitas to a story that might otherwise be as fantastic as it is fantastic (as it were), it can also be like trying to use a live tiger as a sofa: there’s a real danger of it biting you on the arse.

When he wrote The Honourable Woman, Hugo Blick could not have anticipated exactly what would happen just as the series went to air. But while it would have been impossible to foresee the murder of Israeli youths by members of Hamas, the retaliation from Israeli extremists, the rocket attacks on Israel from Hamas, Israel’s air strikes and subsequent ground assault on Gaza, or the wholesale slaughter of innocent Palestinians including women and children, he could have made an educated guess.

The recent history of Israel and Palestine is a seemingly endless cycle of violence, steeped in decades of blood and recrimination; a tale of spies, shagging, secrets and shame was always in danger of being overtaken by a reality far grimmer than any thriller.

Then again, maybe Blick f

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