Molly Ringwald And Godard

Molly Ringwald at The New Yorker:

Before we started filming, I asked someone from the production team when I would meet makeup, hair, and wardrobe, and was told that I would be doing my own. I was also informed that Godard would be stopping by my room to choose Cordelia’s costumes from the clothes I had brought with me. It was the first I’d heard of this, and I suddenly wished I had been more selective in my packing. I went back to my room, picked out a nice sweater and skirt, tied a scarf in my hair, and carefully applied my makeup. Then I wrote postcards while I waited for Godard, the contents of my suitcase neatly arranged on the bed. When I greeted him and an assistant at the door, he took one look at my face and exclaimed, “No, no, no! Too much makeup! Take it off. If you must, just a little mascara, that’s all.” The “a” in “all” was pronounced as an “o,” articulated in the exact same way he later asked me to pronounce Cordelia’s answer to her father’s question about what she will say to prove her love for him. “Not no‑thing.” no thing. He split the word in two, and I could tell that this distinction was important to him, without really understanding why.

more here.