Marie Antoinette

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Dunst: Our premiere got a standing ovation and we had the greatest after-party of all time. Once the film actually came out, it hit me that people didn’t really seem to like it. “Honestly, It Hurt My Feelings” Katz: I was pissed off. I told our publicist, “You’ve gotta get a hold on this, nothing happened the way it’s being reported.” We had people jump to their feet and give us a standing ovation at the premiere, so I was upset that it got lost because of something so petty as a few boos at a press screening.

Schwartzman: I started to know the palace so well that I was giving tours to new cast members or anyone who came to visit. Cribs was big at the time, so one day I just started messing around and giving a tour in character as Louis while Roman [Coppola] followed me around with a camera. I didn’t even know it was edited together until someone told me it was a bonus feature on the DVD. A little over a month later, the stunning victory of the French Revolutionary army over Prussia at the Battle of Valmy emboldened the National Convention to abolish the monarchy and declare the First French Republic. Now known as simply Citizen Louis Capet, Marie Antoinette's husband was charged with treason against the Republic and put on trial in December. He was condemned to death and guillotined on 21 January 1793. Execution & LegacyThe phrase was attributed to Marie Antoinette by Alphonse Karr in Les Guêpes of March 1843. [11] [Note a] Dunst: There was a lot of jumping around because we could only shoot at Versailles one day a week. We had to shoot a lot of important scenes on Mondays so it wasn’t uncommon for me to play old and young on the same day. In the morning I’d be a 14-year-old arriving at the palace, and then in the afternoon I’d be grieving the death of my child. It was all very tiring.

Coppola: I thought that young girls would be into it, but I just don’t think it ever found its way and the marketing didn’t find that audience. But it wasn’t disappointing because I have such good memories of the whole experience. I was also having a baby in Paris so by the time it came out, I had other things on my mind. “It’s Like a Piece of Art You Can Watch”Coppola: I’m still surprised to this day that Versailles welcomed us. It was kinda like hosting the ultimate party. I think people could see my heart was totally in it and that I was doing something I love. While most of the cast wore wigs provided by Italian wigmaker Rocchetti & Rocchetti, Kirsten began every shooting day in hair and make-up for two and a half hours. Famed hairstylist Odile Gilbert was brought in to craft Dunst’s rose-tinted curls and sky-high bouffants. Long accustomed to the fast-paced nature of styling runway shows for Chanel and Dior, Gilbert made her film debut with Marie Antoinette.

Dunst: Getting to work with Molly was such a huge deal to me because I was the biggest SNL fan in the world. Sofia is so good at casting people who work well off of each other. The cast was her reimagining of what the court would look and feel like at that time – there’s the funny one, that one’s the gossip, she’s the mean girl. It was like high school at Versailles. Corinne Deveroux, Marie Antoinette choreographer: Sofia said, “Corinne, can you create classical choreography for modern music?” and I said, “But of course.” She really wanted to use “Hong Kong Garden” for the ball scene because that was the first type of music to get an emotional reaction out of her as a teenager. I said I’d find a way to make it work. Lucie de la Tour du Pin was the Pepys of her generation. She witnessed, participated in, and wrote diaries detailing one of the most tumultuous periods of history. From life in the Court of Versailles, through the French Revolution to Napoleon's rule, Lucie survived extraordinary times with great spirit. She recorded people, politics and intrigue, alongside the intriguing minutia of everyday life: food, work, illness, children, manners and clothes.

Tian Chi, quoted in Joshua A. Fogel, Peter Gue Zarrow, Imagining the People: Chinese Intellectuals and the Concept of Citizenship, 1890–1920, 1997, ISBN 0765600986, p. 173 Johnson, Paul (1990). Intellectuals. New York: Harper & Row. pp. 17–18. ISBN 9780060916572. The 'facts' he so frankly admits often emerge, in the light of modern scholarship, to be inaccurate, distorted or non-existent.